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THE  COMMITTEE  ON  PUBLICATIONS  CERTIFIES  THAT 
THIS  BOOK  IS  ONE  OF  AN  EDITION  OF  THREE 
HUNDRED  COPIES  ON  FRENCH  PAPER  AND  THREE 
COPIES  ON  IMPERIAL  JAPAN  PAPER  PRINTED  FROM 
TYPE  IN  THE  YEAR  NINETEEN  HUNDRED  AND  NINE 


A DESCRIPTIVE  CATALOGUE 
OF  THE  ETCHINGS 
AND  DRY-POINTS 
OF 


JAMES  ABBOTT  McNEILL  WHISTLER 


V 


x 


V 


A DESCRIPTIVE  CATALOGUE 
OF  THE  ETCHINGS 
AND  DRY-POINTS 

OF 

JAMES  ABBOTT  McNEILL  WHISTLER 

BY 

HOWARD  MANSFIELD 


CHICAGO 

THE  CAXTON  CLUB 

M C M I X 


COPYRIGHT,  1909, 
BY 

THE  CAXTON  CLUB 


RESEARCH  LIBRARY 
OBTTY  RESEA"  Ci ' i NSTfTIJTE 


IN  HONOR 
O F 

WHISTLER 


CONTENTS 

PAGE 

Introduction xiii 

Prefatory  Note xv 

Biographical  Sketch xvi 

Periods  of  Etching xlii 

Publication  of  Etchings xlv 

Collections  of  Etchings lii 

Exhibitions  of  Etchings Ivi 

Prior  Catalogues lvii 

Present  Compilation lix 

References Ixv 

Acknowledgments Ixv 

Catalogue  i 

Appendix 243 

Index 249 


INTRODUCTION 


INTRODUCTION 


WHEREVER  there  is  notable  achievement,  there  is  sure  to  prefatory 
be  insistent  inquiry  about  the  man  behind  the  work;  not  note 
from  curiosity  alone,  but  because  of  a belief  that  apprecia- 
tion of  the  work  will  grow  with  knowledge  of  the  personality  which  has 
produced  it.  While  such  a belief  may  chance  to  be  a mistaken  one,  and 
tend  to  warp  the  judgment  through  a confusion  of  points  of  view,  it  is 
not  to  be  denied  a basis  of  reason.  Of  much  greater  moment,  however, 
than  the  manner  of  man  who  has  wrought,  are  the  sum  and  quality  of 
his  acnievement.  To  arrive  at  knowledge  of  these  we  may  well  ex- 
plore the  whole  range  of  his  powers.  All  that  is  illuminative  of  the 
motives  and  methods  with  which  these  powers  have  been  employed 
may  rightly  fall  within  the  scope  of  reasonable  inquiry.  Even  then, 
ultimate  judgment  should  rest  on  impersonal  tests  and  inherent  merit 
should  alone  be  the  criterion.  Manifest  successes  should  gain  through 
comparison  with  other  successes  and  not  suffer  by  contrast  with  com- 
parative failures.  Supreme  triumphs  should  stand  alone,  their  glory 
unclouded  by  any  comparison  whatsoever. 

These  considerations,  true  in  a measure  of  the  work  of  any  artist, 
apply  with  peculiar  force  to  the  varied  achievements  of  Whistler. 

Knowledge  of  them  all  is  essential  to  a thorough  appreciation  of  each 
as  well  as  to  a right  estimate  of  Whistler’s  true  place  in  the  world  of 
art.  To  a special  study  of  his  paintings  should  be  added  a compre- 
hensive acquaintance  with  his  etchings;  where  his  etchings  kindle 
enthusiasm,  his  lithographs  should  not  the  less  have  scope  to  exert 
their  charm;  the  exquisite  beauty  of  his  water-colors  should  com- 


XV 


INTRODUCTION 


BIOGRAPHICAL 

SKETCH 


mand  admiration  equally  with  the  poetic  grace  of  his  pastels;  nor 
should  his  literary  gifts  be  considered  apart  from  the  sum  of  his  art. 
Yet  his  work  in  each  particular  field — and  each  masterpiece  in  what- 
ever field — must  finally  be  judged  by  itself,  and  should  be  judged 
always  as  the  true  achievement  of  the  artist,  unaffected  by  opinions 
wrongly  or  rightly  formed  regarding  the  man. 

Holding  these  views,  the  compiler  of  the  catalogue  that  follows 
does  not  deem  it  to  be  within  the  province  of  an  introductory  state- 
ment to  include  a biography  of  Whistler  in  the  ordinary  sense;  nor 
is  he  bold  enough  to  undertake  the  delicate  task  of  framing  a just 
portrayal  of  that  unique  personality.  Nevertheless,  a brief  review 
of  the  career  of  Whistler  as  an  artist  may  fittingly  precede  the  record 
of  what  he  accomplished  in  a branch  of  art  in  which  he  is  univer- 
sally acknowledged  to  have  achieved  greatness,  and  throughout  which 
his  individuality  conspicuously  shines. 


More  than  one  city  has  been  named  as  Whistler’s  birthplace,  but 
the  truth  is  that  he  was  born  in  Lowell,  Massachusetts,  and  in  July, 
1834;  whether  on  the  tenth  or  the  eleventh  of  the  month  is  not  so  clear. 
A reference  by  his  mother,  ten  years  later,  to  a poem  chosen  for  her 
by  her  son  on  the  tenth  to  celebrate  his  birthday,  has  naturally  tended 
to  fix  that  as  the  date.  But  the  birthday  book  of  Mr.  James  B. 
Francis,  the  friend  and  associate  of  Whistler’s  father  in  Lowell  at 
the  time,  states  the  date  positively  as  July  11.  Whichever  be  the 
true  date  of  his  birth,  the  date  of  Whistler’s  baptism  is  shown  by 
the  parish  records  of  St.  Anne’s  Church,  Lowell,  to  have  been  No- 
vember 9,  1834,  when  he  was  christened  James  Abbott.  Soon  after 
his  admission  to  West  Point,  he  adopted  McNeill,  the  name  of  his 
mother’s  family,  to  the  exclusion,  as  a rule,  of  the  original  middle 
name,  although  in  1888,  on  the  occasion  of  his  marriage,  he  signed 
his  name  James  Abbott  McNeill  Whistler.  The  house  in  which 
Whistler  was  born,  which  is  said  to  have  stood  in  1834  on  the  corner 
of  Dutton  and  Fletcher  Streets,  is  now  243  Worthen  Street,  and  in 
1908  became  the  home  of  the  Lowell  Art  Association. 


XVI 


BIOGRAPHICAL  SKETCH 


Whistler  was  a son  of  Major  George  Washington  Whistler  and  of 
Anna  Matilda  McNeill,  his  second  wife.  Major  Whistler  was  a grad- 
uate of  West  Point,  where,  as  a cadet,  he  was  noted  for  his  skill  in 
drawing  and  music,  and  where  he  afterward  became,  for  a short  time, 
an  instructor.  In  his  subsequent  service  he  distinguished  himself  in 
topographical  surveys  on  the  northern  frontier,  and  was  detailed, 
while  still  in  the  army,  to  examine  the  newly-built  railways  of  England 
and  to  apply  his  experience  to  the  problems  of  railroad  construction  in 
the  United  States.  Resigning  his  commission  in  1833,  he  became,  in 
1834,  engineer  to  the  Proprietors  of  the  Locks  and  Canals  on  Merri- 
mack River,  at  Lowell.  Engagements  in  important  railroad  con- 
struction led  him  to  remove,  with  his  family,  in  1837  to  Stonington, 
Connecticut,  and  in  1840  to  Springfield,  Massachusetts.  In  1842  he 
went  to  Russia,  having  been  chosen  by  the  Emperor  Nicholas  to  build 
the  railroad  from  St.  Petersburg  to  Moscow.  While  in  the  service  thus 
undertaken,  he  died  at  St.  Petersburg  in  1849. 

In  1843  James,  with  his  older  half-sister  and  two  younger  brothers, 
was  taken  by  his  mother  to  St.  Petersburg.  Within  the  next  six 
years,  portions  of  which  were  passed  in  England,  he  took  lessons  in 
drawing  at  the  Academy  of  Fine  Arts  in  St.  Petersburg,  and  ac- 
quired a knowledge  of  French,  which  he  afterward  developed  into  a 
remarkable  command  of  that  language. 

In  1849  Mrs.  Whistler,  who  had  lost  by  death  while  abroad  not 
only  her  husband,  but  one  of  her  sons  born  in  America  and  a son  born 
in  Russia,  returned  to  America,  and  soon  after  placed  her  two  remain- 
ing sons — James  and  William — in  a school  in  Pomfret,  Connecticut, 
of  which  the  Rev.  Roswell  Park,  D.D.,  was  the  head  master.  While 
there  Whistler  made  a number  of  drawings  that  have  been  preserved 
- — among  them  a possibly  joyful  record  of  one  of  the  school  buildings 
in  flames. 

In  1851  Whistler  became  a cadet  at  West  Point,  where  he  stood 
at  the  head  of  his  class  in  drawing,  as  his  father  had  done,  but  stood 
at  the  foot  of  his  class  in  chemistry;  yet  during  one  year,  at  least, 
ranked  in  average  above  eighteen  of  his  comrades  in  a class  of  sixty. 
It  was  for  deficiency  in  chemistry  that  he  was  dismissed,  in  June, 

xvii 


INTRODUCTION 


1854,  from  an  institution  which  throughout  his  life  he  held  in  the  high- 
est possible  esteem.  A number  of  Whistler’s  drawings  of  the  cadet 
period,  but  not  all  executed  as  routine  work,  are  preserved  in  the 
library,  drawing-academy,  and  rooms  of  the  army-mess,  at  the  United 
States  Military  Academy  at  West  Point. 

In  November,  1854,  Whistler  entered  the  office  of  the  United 
States  Coast  Survey  in  Washington,  then  under  the  charge  of  his 
father’s  friend.  Captain  H.  W.  Benham.  Assigned  to  the  engraving 
division,  he  continued  in  this  employment  about  three  months.  It 
is  known  that  during  this  period  he  was  engaged  in  the  etching  of 
at  least  two  plates.  One  of  these,  giving  a “View  of  the  Eastern 
Extremity  of  Anacapa  Island — from  the  Southward’’  — a bluff  of 
bare  rocks  in  Santa  Barbara  Channel  off  the  coast  of  California — 
was  published  in  the  Report  of  the  Superintendent  of  the  Coast  Sur- 
vey for  1854.  The  other — known  as  the  “Coast  Survey  Plate” — pic- 
tures rocky  bluffs  rising  from  the  water’s  edge,  and  is  here  and  there 
embellished  with  a number  of  irrelevant  etched  heads,  which  entitle 
the  plate  to  be  described,  in  an  artistic  sense,  as  Whistler’s  first  etch- 
ing. The  liberty  taken  with  this  plate  helped,  though,  to  precipitate 
his  withdrawal  from  the  Government’s  service,  and  the  end  of  1855 
found  him  in  Paris  for  the  serious  study  of  art,  which  he  afterward 
declared  had  all  along  been  his  purpose. 

Entering  the  studio  of  Gleyre  about  the  beginning  of  1856,  Whist- 
ler remained  there  for  a brief  time  only,  evidently  finding  little  to 
his  taste  in  the  work  of  that  painter;  yet  the  method  of  setting  the 
palette  taught  by  Gleyre  was  retained  by  Whistler  all  his  life,  and 
became  a special  feature  of  his  own  teaching,  and  he  appears  in  large 
measure  to  have  founded  his  j^r^ctice  in  painting,  upon  a belief  in 
Gleyre’s  assertion:  “Le  noir  d’ivoire  est  la  base  des  fon'si”  Copies  in 
oil  of  certain  paintings  by  Ingres — among  them  the  “Andromeda” — 
were  a part  of  the  student  work  of  this  period. 

Within  the  next  two  years,  Whistler,  besides  visiting  London,  where 
his  half-sister,  the  wife  of  Francis  Seymour  Haden  (now  Sir  Seymour 
Haden),  surgeon  and  etcher,  lived,  journeyed  through  Alsace-Lorraine 
and  went  to  Heidelberg  and  as  far  as  Cologne.  Immediate  fruits  of 

xviii 


BIOGRAPHICAL  SKETCH 


these  excursions  were  pencilled  portraits  of  the  Haden  children  and 
numerous  picturesque  sketches,  some  of  which,  with  a few  Parisian 
subjects,  were  the  basis  of  the  etchings  that  formed  the  first  series  of 
the  artist’s  published  work  with  the  needle,  dated  November,  1858. 

Sympathy  with  their  views,  aided  by  familiarity  with  their  lan- 
guage, brought  Whistler  into  early  association  in  Paris  with  a group 
of  progressive  artists  and  literary  men  who  were  to  become  known  to 
fame.  In  a painting  entitled  “Hommage  a Delacroix,”  exhibited  at 
the  Salon  in  1864  by  Fantin-Latour,  who  became  and  remained  one 
of  Whistler’s  most  intimate  friends,  Whistler  appears  prominently 
with  Fantin-Latour  himself,  Manet,  Legros,  Bracquemond,  Baude- 
laire, Champfleury  and  some  lesser  lights.  To  this  list  of  early  asso- 
ciates may  be  added  the  names  of  Bonvin,  Courbet,  Degas,  Drouet, 
Du  Maurier,  Duret,  Monet  and  Poynter. 

In  the  early  days  in  Paris  Whistler  had  a studio  in  the  Rue  Cam- 
pagne-Premiere,  and  it  was  there  that  he  painted  his  first  important 
pictures,  including  “La  Mere  Gerard,”  “Tete  de  Paysanne,”  “Head 
of  an  Old  Man,  Smoking,”  and  the  portrait  of  himself  wearing  a 
broad-brimmed  hat,  which  has  become  well  known  through  the  etch- 
ing by  Guerard. 

In  1859  Whistler  for  the  first  time  sent  a painting  to  the  Salon — 
“At  the  Piano,”  containing  the  portraits  of  Mrs.  Haden  and  her 
daughter  Annie.  The  painting  was  rejected  by  the  jury,  but  found 
hospitality  in  the  studio  of  Bonvin,  and  brought  admiring  recogni- 
tion to  the  artist,  as  a painter,  from  Courbet  and  others  of  the  group 
among  whom  he  had  been  specially  appreciated  as  an  etcher. 

It  was  in  1859  that  Whistler  began  his  etchings  of  scenes  on  the 
Thames,  where  it  flows  through  London;  and  from  1859  to  1863  he 
divided  his  time  between  the  two  capitals.  At  the  Royal  Academy 
two  of  his  earlier  French  etchings  were  exhibited  in  1859;  his  paint- 
ing, “At  the  Piano,”  two  dry-point  portraits,  and  three  of  the  Thames 
etchings  in  i860;  a painting,  “La  Mere  Gerard,”  a dry-point  portrait 
and  a Thames  etching  in  1861,  and  two  paintings  and  one  etching  of 
Thames  subjects  in  1862.  One  of  these  paintings,  “The  Thames  in 
Ice,”  bore  then  the  title:  “The  Twenty-fifth  of  December,  i860,”  the 


XIX 


INTRODUCTION 


other  being  entitled  “Alone  with  the  Tide.”  It  appears  that  the 
painting,  “The  White  Girl,”  later  known  as  “Symphony  in  White, 
No.  I,”  was  offered  in  vain  for  exhibition  at  the  Academy,  but  was 
shown  in  the  summer  of  1862  in  the  Berners  Street  Gallery  in  London. 

In  the  summer  of  1861  Whistler  visited  Brittany,  where,  at  Perros- 
Guirec,  he  found  the  subject  of  his  dry-point  of  “The  Forge,”  and 
where  he  painted  the  “Coast  of  Brittany” — a picture  which,  in  1878, 
was  included  in  the  first  exhibition  of  the  Society  of  American  Artists 
at  the  Kurtz  Gallery  in  New  York.  In  1862  he  set  out  for  Madrid, 
to  see  the  work  of  Velasquez.  Halting  at  Guethary,  between  Biar- 
ritz and  Saint-Jean-de-Luz,  he  never,  then  or  later,  reached  the  Span- 
ish capital;  but  “The  Blue  Wave,  Biarritz:  Blue  and  Silver,”  painted 
in  that  year,  remains  as  a record  of  this  episode. 

In  1863  he  went  for  the  first  time  to  Holland,  and  made  the  etch- 
ing of  “Amsterdam”  from  the  Tolhuis.  About  the  same  time  he  re- 
ceived a gold  medal  for  some  of  his  etchings  exhibited  at  The  Hague— 
the  first  official  recognition  of  his  merit  in  the  field  of  art. 

In  the  intervals  between  these  journeys  Whistler  was  busily  at 
work  in  London,  painting  as  well  as  etching  scenes  on  the  Thames, 
virtually  living  for  months  at  Wapping.  Of  the  paintings  of  this 
period,  “Old  Westminster  Bridge,”  dated  1862,  was  exhibited  at  the 
Academy  in  1863,  as  “The  Last  of  Old  Westminster,”  while  “On  the 
Thames,”  dated  1863,  may  be  identified  with  the  painting  exhibited 
at  the  Academy  as  “Wapping”  in  1864.  Besides  his  painting,  six 
of  his  prints  were  included  in  the  Academy  exhibition  of  1863. 

For  “Once  a Week”  Whistler  designed,  in  1862,  four  illustrations, 
which  were  engraved  on  wood  by  Swain,  and  for  “ Good  Words,”  in 
the  same  year,  two  illustrations,  which  were  similarly  engraved  by 
the  brothers  Dalziel. 

In  1863  Whistler  for  the  second  time  ventured  to  send  one  of  his 
paintings — “The  White  Girl,”  already  scorned  by  the  Academy — to 
the  Salon.  Again  his  work  was  rejected  by  the  jury,  but  only  to  gain 
immediate  and  lasting  renown  through  exhibition  in  the  “Salon  des 
Refuses”  of  that  year,  famous  ever  after  for  its  list  of  exhibitors — a 
list  embracing  Bracquemond,  Cazin,  Fantin-Latour,  Harpignies,  Jong- 


XX 


BIOGRAPHICAL  SKETCH 


kind,  Jean-Paul  Laurens,  Legros,  Manet,  Pissarro  and  Vollon,  as  well 
as  Whistler. 

In  the  same  year  Whistler  took  up  his  residence  definitely  in  Lon- 
don. Having  earlier  shared  a studio  with  Du  Maurier  in  Newman 
Street,  he  settled  at  No.  7 Lindsey  Row,  Chelsea,  now  10 1 Cheyne 
Walk,  and  for  the  rest  of  the  decade  devoted  himself  to  painting, 
to  the  almost  complete  exclusion  of  etching.  A taste  for  Oriental 
art,  acquired  in  Paris,  was  developed  during  this  period.  It  found 
vent  in  the  collecting  of  blue-and-white  Chinese  porcelains,  and  ex- 
pression in  highly  decorative  paintings  with  Oriental  motives.  Such 
were:  “Die  Lange  Leizen — of  the  Six  Marks:  Purple  and  Rose,”  ex- 
hibited at  the  Royal  Academy  in  1864;  “The  Gold  Screen:  Caprice  in 
Purple  and  Gold,”  painted  in  1864  and  exhibited  at  the  Academy  the 
next  year;  “La  Princesse  du  Pays  de  la  Porcelaine:  Rose  and  Silver,” 
painted  also  in  1864,  and  exhibited  at  the  Salon  in  1865,  and  “The 
Balcony:  Variations  in  Flesh-colour  and  Green,”  exhibited  at  the  Royal 
Academy  in  1870.  Within  the  same  period  were  painted  “The  Little 
White  Girl”  or  “Symphony  in  White,  No.  II,”  which  was  shown  at  the 
Academy  in  1865  and  prompted  a poem  from  Swinburne,  and  “Sym- 
phony in  White,  No.  Ill,”  which  was  similarly  exhibited  in  1867. 
Other  paintings  of  this  time,  which  were  publicly  shown,  were  “Old 
Battersea  Bridge:  Brown  and  Silver”  and  “The  Scarf,”  which  ap- 
peared at  the  Academy  in  1865,  and  “Battersea”  and  “Sea  and  Rain: 
Variations  in  Violet  and  Green,”  which  appeared  there  in  1867.  To 
this  period  may  be  assigned  “The  Music  Room:  Harmony  in  Green 
and  Rose,”  although  it  may  not  have  been  formally  exhibited  until 
later. 

The  titles  descriptive  of  the  color-schemes  of  these  and  other  early 
works  were  not  added  to  the  more  definite  original  titles  until  some 
time  after  the  pictures  were  painted.  Nor  were  the  precise  terms  of 
color-description  that  were  later  applied  to  particular  paintings,  when 
first  exhibited,  always  strictly  adhered  to  by  the  artist,  if  we  may 
judge  from  variations  in  the  catalogues  of  different  exhibitions. 

Whistler’s  life  in  London  brought  him  into  intimate  relations  with 
the  Rossettis  and  Swinburne,  Godwin,  Albert  Moore  and  Pellegrini, 


XXI 


INTRODUCTION 


George  Boughton,  Charles  Keene  and  Linley  Sambourne,  George  Moore 
and  Oscar  Wilde,  Labouchere  and  Edmund  Yates,  and  many  another 
man  then  eminent  in  art  or  in  letters.  With  some  of  these — Swinburne, 
George  Moore,  and  Oscar  Wilde — there  arose  controversies  from  time 
to  time,  which  ultimately  found  a permanent  record  in  “The  Gentle 
Art  of  Making  Enemies”;  with  the  others  named — with  Albert  Moore 
particularly — an  unbroken  friendship  appears  to  have  been  maintained. 

In  the  summers  of  1865  and  1866,  Whistler  was  at  Trouville  with 
Courbet,  and  painted  long  stretches  of  beach  and  wide  expanses  of  sea 
and  sky — under  Courbet’s  influence,  Duret  says;  but  Whistler’s  ma- 
rines of  this  period  are,  nevertheless,  strongly  individual,  and  he  was 
not  long  in  outgrowing  any  influence  that  the  French  artist  may  have 
exerted,  if,  indeed,  such  was  ever  really  a factor  in  Whistler’s  work. 

In  the  interval  between  these  same  summers,  Whistler,  with  a num- 
ber of  companions,  went  to  Chile,  going  and  returning  by  the  way  of 
the  Isthmus  of  Panama.  The  precise  purpose  of  this  expedition 
remains  obscure,  but  it  resulted  in  the  notable  paintings  that  came 
to  be  known  as  “Harmony  in  Green  and  Gold:  the  Pacific  Ocean,” 
“Crepuscule  in  Green  and  Opal:  Valparaiso,”  and  “Nocturne  in  Blue 
and  Gold:  Valparaiso  Bay” — perhaps  Whistler’s  first  nocturne.  Fol- 
lowing his  return,  he  removed  to  No.  2 Lindsey  Row,  now  96  Cheyne 
Walk,  where  his  mother  lived  with  him. 

At  the  Paris  Exposition  of  1867  four  of  Whistler’s  paintings,  in- 
cluding “The  White  Girl,”  “Wapping,”  “Old  Battersea  Bridge,”  and 
“Twilight  on  the  Ocean” — as  “Crepuscule  in  Green  and  Opal:  Val- 
paraiso” was  then  catalogued— were  exhibited  in  the  American  sec- 
tion, and  received  from  the  French  critics  exceptional  praise.  In  the 
Salon  of  the  same  year  he  was  represented  by  the  once  rejected  “At 
the  Piano”  and  by  a painting  described  as  “Winter  on  the  Thames,” 
really  “The  Thames  in  Ice.” 

Afterward,  in  London,  Whistler  painted,  in  remarkably  quick  suc- 
cession, a series  of  portraits  quite  as  wonderful  as  anything  his  art 
has  produced.  The  first  of  these,  “Arrangement  in  Grey  and  Black: 
Portrait  of  the  Artist’s  Mother,”  was  shown  in  1872  at  the  Royal 
Academy,  where  it  held  its  place  only  through  the  protest  of  Sir 

xxii 


BIOGRAPHICAL  SKETCH 


William  Boxall.  This  masterpiece  afterward  appeared  in  special  ex- 
hibitions of  paintings  by  Whistler  in  London  in  1874  and  1889,  and 
in  a special  exhibition  of  paintings  by  American  artists  at  the  Penn- 
sylvania Academy  of  the  Fine  Arts  in  Philadelphia  in  1881,  and  in  the 
Exhibition  of  the  Society  of  American  Artists  in  New  York  in  1882, 
and  in  Paris  at  the  Salon  in  1883,  receiving,  in  1891,  through  govern- 
ment purchase,  the  honor  of  a place  in  the  Musee  Luxembourg,  to 
pass  thence  ultimately  to  the  Louvre.  Next  came  the  “Miss  Alex- 
ander: Arrangement  in  Grey  and  Green”;  then  the  “Thomas  Carlyle: 
Arrangement  in  Grey  and  Black,”  now  in  the  possession  of  the  Cor- 
poration of  Glasgow,  and  the  “Leyland”  and  “Mrs.  Leyland”;  all  of 
which  were  shown  publicly  for  the  first  time  in  1874,  in  a gallery  in 
Pall  Mall,  where  the  earliest  exhibition  of  selected  works  of  the  artist 
including  fifty  prints,  was  arranged. 

Previously  he  had  exhibited  separate  works  in  the  French  Gallery 
in  Pall  Mall  and  with  the  Society  of  French  Artists  in  New  Bond 
Street,  and  in  1871  had  shown  “Variations”  and  a “Flarmony”  at 
the  Dudley  Gallery,  where,  in  the  following  year  he  exhibited  several 
“Symphonies”  and,  for  the  first  time,  Mrs.  Pennell  says,  “an  im- 
pression of  night  with  the  title  ‘Nocturne/  ” In  the  same  year  he 
showed,  in  the  International  Exhibition  at  South  Kensington,  “The 
White  Girl”  as  “Symphony  in  White,  No.  I,”  and  “La  Princesse 
du  Pays  de  la  Porcelaine”  as  “Variations  in  Flesh-colour,  Blue  and 
Grey,”  later  changed  to  “Grey  and  Rose.” 

Meanwhile,  in  1871,  the  etchings  known  as  the  “Thames  Set” — 
sixteen  in  number,  but  not  all  etchings  of  Thames  subjects — were 
published  in  London  by  Messrs.  Ellis  and  Green. 

As  early  as  1870  Whistler  had  come  into  relations  with  Mr.  F.  R. 
Leyland,  ship-owner  and  art-patron,  and  portraits  of  Leyland  and  of 
various  members  of  his  family  became  the  subjects  of  numerous  paint- 
ings, drawings  and  dry-points  by  Whistler  within  the  next  five  years. 
It  was  in  Leyland’s  mansion  at  Prince’s  Gate,  in  London,  that  Whist- 
ler, in  1876,  began  the  re-decorating  of  the  dining-room,  making  it 
famous  as  “The  Peacock  Room.”  Already,  at  one  end  of  the  room, 
hung  “La  Princesse  du  Pays  de  la  Porcelaine,”  with  which  it  was 

xxiii 


INTRODUCTION 


sought  to  bring  the  room  into  harmony,  while  at  the  other  end  a va- 
cant space  had  been  reserved  for  “The  Three  Girls,”  or  “Symphony  in 
White,  No.  IV,”  a decorative  piece  which  Leyland  had  given  him  a 
commission  to  paint,  but  which,  although  carried  well  toward  comple- 
tion, was  never  put  in  place  and  never  passed  into  Leyland’s  possession. 
In  connection  with  this  piece  Whistler  executed  at  least  six  “schemes” 
— -“The  White  Symphony:  Three  Girls,”  “Venus,”  “Symphony  in 
Green  and  Violet,”  “Symphony  in  White  and  Red,”  “Variations  in 
Blue  and  Green,”  and  “Symphony  in  Blue  and  Pink” — all  painted 
with  wonderful  purity  of  color  and  endowed  with  exquisite  charm. 

It  was  on  Leyland’s  suggestion — as  appears  from  an  undated  letter 
of  the  artist — that  “Nocturne”  was  adopted  as  the  title  for  evening 
views — chiefly  of  scenes  on  the  Thames — such  as  Whistler  had  already 
begun  to  paint.  Produced  in  considerable  number  during  this  period, 
the  nocturnes  gave  Whistler  a reputation  that  remains  unique  up  to 
the  present  time — that  of  a triumphant  painter  of  the  elusive  beauty 
of  the  night. 

In  1875  he  exhibited  at  the  Dudley  Gallery  a “Nocturne  in  Blue 
and  Gold,  No.  Ill,”  and  in  the  same  year  showed  at  the  exhibition 
of  the  Society  of  French  Artists  “Chelsea  Reach:  Harmony  in  Grey,” 
besides  numerous  studies.  With  the  same  society,  in  the  following 
year,  he  exhibited  three  nocturnes. 

On  the  opening  of  the  Grosvenor  Gallery,  in  London,  by  Sir  Coutts 
Lindsay  in  1877,  Whistler  exhibited  his  portrait  of  “Irving  as  Philip 
II  of  Spain,”  under  the  title,  “Arrangement  in  Black,  No.  Ill,”  and 
“The  Fur  Jacket”  under  the  title,  “Harmony  in  Amber  and  Black,” 
besides  the  portrait  of  Carlyle  and  four  nocturnes:  “Nocturne  in 
Black  and  Gold:  The  Falling  Rocket,”  “Nocturne  in  Blue  and  Silver,” 
showing  the  Thames  at  Battersea,  “Nocturne  in  Blue  and  Silver,” 
later,  “Nocturne  in  Blue  and  Gold:  Old  Battersea  Bridge,”  now  in 
the  Tate  Gallery,  London,  and  “Nocturne  in  Blue  and  Gold:  West- 
minster.” 

With  regard  to  the  nocturnes  thus  exhibited,  and  one  of  them 
in  particular,  “Nocturne  in  Black  and  Gold:  The  Falling  Rocket,”  Mr. 
Ruskin  took  occasion  to  say,  in  his  sixty-ninth  letter  to  Fors  Clav- 


XXIV 


BIOGRAPHICAL  SKETCH 


igera,  of  July  2,  1877:  “For  Mr.  Whistler’s  own  sake,  no  less  than 
for  the  protection  of  the  purchaser,  Sir  Coutts  Lindsay  ought  not  to 
have  admitted  works  into  the  gallery  in  which  the  ill-educated  con- 
ceit of  the  artist  so  nearly  approaches  the  aspect  of  wilful  imposture. 
I have  seen,  and  heard,  much  of  cockney  impudence  before  now;  but 
never  expected  to  hear  a coxcomb  ask  two  hundred  guineas  for  fling- 
ing a pot  of  paint  in  the  public’s  face.” 

For  this  astounding  piece  of  abuse  in  the  guise  of  art-criticism, 
Whistler  brought  an  action  for  libel  against  Ruskin,  which  was  tried, 
on  November  25  and  26,  1878,  before  Baron  Huddleston  and  a jury. 
The  trial  resulted  in  a verdict  for  the  plaintiff — damages  one  farthing, 
and  each  party  was  adjudged  to  pay  his  own  costs.  A further  result 
of  this  action  was  a pamphlet,  dated  December  24,  1878,  written  by 
Whistler  and  published  by  Chatto  & Windus,  entitled  “Whistler  v. 
Ruskin — Art  and  Art  Critics.” 

In  the  meantime  Whistler  had  continued  to  paint  and  to  exhibit, 
showing  at  the  Grosvenor  Gallery  in  1878  seven  pictures,  including 
three  nocturnes  of  views  on  the  Thames  and  two  figure  pieces,  one 
that  of  a young  woman,  “Arrangement  in  White  and  Black,  No.  I,” 
known  later  as  “The  American,”  although  now  said  to  be  the  full- 
length  portrait  of  Miss  Maud  Franklin,  an  Englishwoman.  In  1879 
he  sent  to  that  gallery  five  paintings — an  “Arrangement  in  Brown 
and  Black:  Portrait  of  Miss  Rosa  Corder,”  a “Harmony  in  Yellow 
and  Gold:  The  Gold  Girl,  Portrait  of  Miss  Connie  Gilchrist,”  a “Har- 
mony in  Green  and  Gold:  The  Pacific  Ocean,”  and  two  nocturnes — 
besides  five  studies  in  chalk  and  pastel,  and  six  etchings.  In  1879 
he  exhibited  also,  and  for  the  last  time,  at  the  Royal  Academy,  show- 
ing then  his  etching  of  “Old  Putney  Bridge,”  one  of  the  group  of 
noble  etchings  of  Thames  subjects  done  in  that  year. 

In  the  International  Exposition  at  Paris  in  1878,  Whistler,  it 
appears,  showed  the  section  of  a room  decorated  by  him,  his  only  ex- 
hibit, the  details  of  which  are  described  in  a Paris  letter  in  the  “New 
York  Tribune”  of  July  6,  1878.  He  also  devised  the  color-schemes 
for  the  decoration  of  the  rooms  of  Mrs.  William  Whistler,  Mrs.  D’Oyly 
Carte,  Mrs.  Walter  Sickert,  Mr.  William  Heineman,  Mr.  Mortimer 


XXV 


INTRODUCTION 


Menpes,  and  Senor  Sarasate,  and  others,  besides  his  own  rooms  in 
Cheyne  Walk  and  in  Tite  Street. 

Some  years  before,  Whistler  had  removed  his  residence  to  Tite 
Street,  Chelsea,  where  he  was  wont  to  gather  about  him  the  brilliant 
spirits  of  the  time  in  “The  White  House,”  a home  built  for  him  by  Mr. 
E.  W.  Godwin,  the  architect,  and  distinguished  within  by  a marvel  of 
simple  and  effective  decoration  of  Whistler’s  own  designing.  One 
feature  of  the  decorative  scheme  was  the  arrangement  of  the  artist’s 
collection  of  blue-and-white  porcelain,  and  it  was  doubtless  his  knowl- 
edge and  appreciation  of  this  form  of  art  which  led  to  his  engagement 
to  furnish,  as  some  of  the  illustrations,  a number  of  drawings,  mostly 
in  color,  of  objects  in  the  collection  described  in  “A  Catalogue  of  Blue- 
and-White  Nankin  Porcelain  forming  the  Collection  of  Sir  H.  Thomp- 
son,” compiled  by  M.  Marks  and  published  in  London,  by  Ellis  and 
Elvey, in  1878. 

It  was  also  in  1878  that  the  methods  in  use  in  lithography  were 
fully  described  to  Whistler  by  Mr.  Thomas  Way,  with  the  result  that 
Whistler  made  nine  lithographic  drawings  on  stone  during  that  year, 
two  of  which,  “The  Toilet”  and  “Broad  Bridge,”  were  published 
in  “ Piccadilly,”  a short-lived  magazine  of  the  time.  Some  five  more 
lithographs  were  made  in  the  following  year;  but  it  was  not  until  1887 
that  further  publication  was  attempted. 

It  was  early  within  the  Leyland  period  that  Whistler  began  making 
sketches  with  charcoal,  sometimes  elaborated  with  pastel,  on  rough 
wrapping-paper  of  various  tones — portrait-studies,  studies  of  models, 
sketches  of  buildings,  landscape-notes  and  suggestions  for  pictures. 
Outgrowths  of  this  method  of  sketching  were  the  pastels,  which  came 
to  form  a fascinating  and  a notable  phase  of  Whistler’s  art.  Graphic 
in  outline,  charming  in  composition  and  in  coloring — individual  to  the 
last  degree — these  pastels  are  works  of  great  distinction.  In  grace, 
pose,  and  flow  of  drapery,  the  figure-pieces  rival  the  best  figurines  of 
the  Greeks,  yet  are  essentially  modern.  In  rapid  delineation  of  canal 
and  courtyard,  with  glimpses  of  rare  architecture,  the  Venice  pastels 
almost  epitomize,  in  line  and  color,  the  decaying  beauty  of  that  won- 
derful city.  Never  have  the  possibilities  of  pastel  been  so  marvelously 


XXVI 


BIOGRAPHICAL  SKETCH 


developed.  Color  has  been  made  to  grow  out  of  the  natural  tones  of 
the  background  and  to  blend  in  harmony  with  the  glowing  or  melting 
touches  of  the  crayon.  Above  all,  simplicity  has  wrought  its  perfect 
work. 

The  Ruskin  episode  had  affected  Whistler’s  fortunes  unfavorably, 
not  only  through  the  heavy  burden  of  his  share  of  the  costs  of  the 
libel  suit,  but  through  loss  of  patronage.  His  consequent  pecuniary 
embarrassment  necessitated  the  sale,  in  1879,  of  “The  White  House” 
and  its  contents,  and,  in  1880,  of  the  collection  of  porcelain  and  of 
numerous  etched  plates,  studies  and  sketches,  to  meet  the  claims  of 
his  creditors;  so  that,  as  Duret  tersely  puts  it,  “ II  ne  lui  restait  comme 
fortune  que  son  talent.” 

Out  of  this  situation  grew  the  engagement  of  Whistler  by  the 
Fine  Art  Society,  of  London,  to  visit  Venice  and  execute  there  a 
series  of  etchings  for  publication  by  the  society.  Reaching  Venice 
late  in  September,  1879,  he  remained  until  November,  1880,  return- 
ing with  some  forty  etched  plates,  numerous  pastels  and  at  least 
two  nocturnes  in  oil.  From  all  of  these  plates  the  Fine  Art  Society 
chooe  twelve,  impressions  from  which  were  exhibited  at  the  society’s 
gallery  in  Bond  Street  in  December,  1880,  and  formed  the  publica- 
tion in  that  year  of  the  first  series  of  Venice  etchings. 

Early  in  1881  fifty-three  pastels  of  Venetian  subjects  were  exhib- 
ited in  the  same  gallery,  where,  in  February,  1883,  etchings  and  dry- 
points,  chiefly  of  similar  subjects,  were  shown,  to  the  number  of  fifty- 
one.  Selections  from  these  were  included  in  the  set  of  “Twenty-six 
Etchings,”  published  by  the  Messrs.  Dowdeswell  and  Dowdeswells,  of 
London,  in  1886.  Accompanying  this  second  exhibition  of  etchings 
was  an  extraordinary  catalogue — “ Etchings  and  Dry-points.  Venice. 
Second  Series,”  with  the  sub-title,  “Mr.  Whistler  and  his  critics” — 
in  which  Whistler  had  gathered  and  arranged,  under  the  various  titles, 
such  adverse  comments  as  the  critics  of  the  time  had  chosen  to  bestow 
on  the  Venice  etchings  when  those  of  the  first  series  met  the  public  gaze 
— a catalogue  of  which  at  least  six  editions  appeared.  The  publication 
of  this  group  of  “Twenty-six  Etchings”  was  attended  by  the  issue  of  a 
series  of  “Propositions”  concerning  the  art  of  etching.  The  fifty-one 


XXVII 


INTRODUCTION 


etchings,  which  had  been  shown  in  London  early  in  1883  with  much 
peculiar  circumstance,  were  exhibited  under  similar  conditions  and 
with  a like  catalogue,  at  the  gallery  of  Messrs.  H.  Wunderlich  & Co. 
in  New  York,  late  in  the  same  year,  to  pass  thence  into  the  Havemeyer 
collection  in  that  city. 

Whistler,  after  his  return  from  Venice,  continued  for  a time  to 
exhibit  at  the  Grosvenor  Gallery,  sending  there  in  1881  the  portrait  of 
Miss  Alexander,  in  1882  seven  pictures,  including  a “Harmony  in 
Flesh-colour  and  Pink” — a portrait  of  Lady  Meux;  a “Scherzo  in 
Blue:  The  Little  Blue  Girl”;  a “Note  in  Blue  and  Opal:  Jersey,”  and  a 
“Nocturne  in  Black  and  Gold:  Entrance  to  Southampton  Water”;  in 
1883  two  nocturnes,  one  a “Nocturne  in  Black  and  Gold:  The  Great 
Fire-wheel,”  and  in  1884  the  portrait  of  Lady  Archibald  Campbell,  an 
“Arrangement  in  Black,”  which  the  next  year  was  exhibited  at  the 
Salon.  He  had  painted,  in  all,  three  portraits  of  Lady  Meux,  the 
earliest  of  which,  an  “Arrangement  in  White  and  Black,”  was  ex- 
hibited in  1882  at  the  Salon,  where,  in  1883,  the  portrait  of  Whistler’s 
mother  received  the  honor  of  a medal,  although  only  of  the  third 
class,  and  where,  in  the  following  year,  the  portrait  of  Carlyle  was 
shown. 

It  was  as  early  as  1880  that  Whistler  began  to  produce  water-color 
drawings  in  considerable  number,  varying  in  subject — figures,  street 
scenes,  marines  and  landscapes.  Executed  in  pure  wash,  without  pre- 
liminary outlines,  these  drawings  in  water-color  not  only  form  an  ex- 
quisitely beautiful  manifestation  of  Whistler’s  talent  and  taste,  but 
rank  among  the  finest  known  works  in  this  delightful  medium. 

Within  the  next  few  years  numerous  pictures  were  completed,  small 
in  size  but  large  in  art — at  Chelsea  and  at  St.  Ives,  at  Dieppe  and  in 
Holland — including  water-color  drawings  and  pastels,  one  series  of 
which  was  shown  at  the  Messrs.  Dowdeswells’  gallery  in  May,  1884, 
and  a second  series  in  1886.  Prefacing  the  catalogue  of  the  earlier 
exhibition,  entitled:  “Notes” — “Harmonies” — “Nocturnes,”  there 
appeared,  under  the  heading  “L’Envoi,”  a series  of  affirmations  re- 
garding painting,  a complement  in  a way  to  the  earlier  “Proposi- 
tions” regarding  the  art  of  etching.  These  affirmations  were  after- 

xxviii 


BIOGRAPHICAL  SKETCH 


ward  reprinted,  separately  and  in  “The  Gentle  Art  of  Making  Enemies," 
as  “Propositions — No.  2.” 

In  1884  Whistler  became  a member  of  the  Society  of  British  Artists 
and  an  exhibitor  in  its  Suffolk  Street  Gallery,  sending  there  the  “Por- 
trait of  Mrs.  Louis  Huth:  Arrangement  in  Black,  No.  II,”  painted  in 
1877,  and  “A  Little  Red  Note:  Dordrecht.”  In  the  summer  of  1885 
he  sent,  besides  seven  water-color  drawings,  his  portrait  of  Senor  Don 
Pablo  de  Sarasate,  the  Spanish  violinist,  an  “Arrangement  in  Black,” 
painted  the  year  before,  now  in  the  Carnegie  Institute  at  Pittsburg. 
In  the  Society’s  winter  exhibition  in  1885  he  exhibited,  besides  two 
pastels,  seven  paintings,  including  an  “Arrangement  in  Grey:  Por- 
trait of  Master  Stephen  Manuel,”  a “Note  in  Flesh-colour  and  Grey: 
Portrait  of  Miss  Dorothy  Menpes,”  and  an  “Arrangement  in  Black, 
No.  VIII:  Portrait  of  Mrs.  Cassatt.”  To  the  summer  exhibition  of 
1886  he  sent  a “Harmony  in  Blue  and  Gold,”  and  to  the  winter  ex- 
hibition one  pastel  and  four  paintings,  including  a “Harmony  in  White 
and  Ivory:  Portrait  of  Lady  Colin  Campbell”;  a “Harmony  in  Red: 
Lamplight” — a portrait  of  Mrs.  Godwin,  and  a “Nocturne  in  Brown 
and  Gold:  St.  Mark’s  Venice.”  In  June  of  the  same  year  Whistler 
was  elected  president  of  the  society,  for  which  the  designation  of 
“Royal”  was  obtained.  Within  its  walls  he  gathered  a strong  fol- 
lowing and  exercised  for  a brief  period  a vitalizing  influence.  It  was 
for  this  society  that,  in  the  same  year,  he  expressly  made  the  etching 
of  “The  Fish-Shop:  ‘ Busy  Chelsea.’  ” His  contributions  to  the  sum- 
mer exhibition  of  the  society  in  1887  were  six  in  number  and,  besides 
an  undescribed  “Note  in  Black,”  were  “A  Note  in  Black:  Reading,” 
the  “Nocturne  in  Blue  and  Gold:  Valparaiso  Bay,”  a “Nocturne  in 
Black  and  Gold:  The  Gardens,”  a “Harmony  in  Grey:  Chelsea  Ice,” 
and  an  “Arrangement  in  Violet  and  Pink:  Portrait  of  Mrs.  Walter 
Sickert.”  To  the  winter  exhibition  he  sent  several  water-colors  and 
twelve  etchings  of  the  Naval  Review  of  that  year,  besides  four  litho- 
graphs recently  published. 

But  the  innovations  of  the  new  regime  aroused  the  antagonism  of 
the  older  members,  with  the  result  that,  at  the  annual  election  in 
June,  1888,  Mr.  Wyke  Bayliss  was  chosen  as  president  in  place  of 


XXIX 


INTRODUCTION 


Whistler,  who,  with  a considerable  following,  withdrew  from  the 
society  before  the  end  of  the  year. 

For  some  years  after  his  return  from  Venice,  Whistler  had  his 
studio  at  13  Tite  Street,  Chelsea,  but  in  1885  he  changed  the  scene 
of  his  labors  to  a large,  rambling  building  at  454A  Fulham  Road, 
Waltham  Green.  Meanwhile  his  residence  was  at  “The  Vale,"  in 
King’s  Road,  Chelsea.  It  was  in  Tite  Street,  says  the  Hon.  Frederick 
Lawless,  a sculptor,  that  Whistler  often  modelled  graceful  statuettes, 
a phase  of  his  art  almost  unknown,  and  it  was  there  that  the  notable 
portraits  of  the  period  were  begun  or  finished.  Among  these,  the  por- 
trait of  Theodore  Duret  gains  special  interest  from  the  account  of  its 
incipiency  which  Duret  gives  in  his  “Histoire  de  J.  McN.  Whistler 
et  de  son  CEuvre,”  published  in  Paris  in  1904.  This  portrait  was  ex- 
hibited in  the  Salon  in  1885,  where  the  portrait  of  Sarasate  was  shown 
the  following  year.  Belonging  to  this  period  also  is  the  “Efifie  Deans: 
Arrangement  in  Yellow  and  Grey,”  exhibited  at  the  Edinburgh  Ex- 
hibition of  1886,  and  now  in  the  Rijks  Museum  at  Amsterdam. 

In  1884  Whistler  sent  twenty-five  works  to  an  exhibition  of  the 
Dublin  Sketching  Club,  including  the  portraits  of  his  mother,  Carlyle 
and  Lady  Meux,  besides  a number  of  nocturnes  and  smaller  pieces  in 
oil,  water-color  and  pastel. 

On  the  opening  of  the  “Salon  du  XX”  at  Brussels,  in  1884,  there 
were  shown  the  portrait  of  Miss  Alexander,  the  “Arrangement  in  Black, 
No.  V,”  the  “Symphony  in  White,  No.  Ill,”  and  the  “Nocturne  in 
Blue  and  Silver,  No.  I.”  In  1886  there  went  to  the  same  Salon  the  por- 
trait of  Sarasate,  and  in  1888,  the  “Arrangement  in  Black,  No.  Ill,” 
the  “Nocturne  in  Black  and  Gold,  No.  II,”  two  pastels  and  a selection 
of  etchings. 

On  the  evening  of  February  20,  1885,  Whistler  delivered,  in  Prince's 
Hall,  London,  his  famous  lecture  on  art — the  “Ten  o’Clock,”  so  called 
from  the  hour  at  which  his  hearers  were  invited  to  attend.  This  lec- 
ture he  repeated  at  the  University  of  Cambridge,  March  24,  and  at 
the  University  of  Oxford,  April  30,  and  later  at  the  Grosvenor  Gallery 
and  before  the  Chelsea  Art  Club,  and  elsewhere.  Withheld  awhile 
from  publication,  for  the  purpose  of  prior  delivery  by  the  author  dur- 


XXX 


BIOGRAPHICAL  SKETCH 


ing  a projected  visit  to  America,  it  was  finally  issued  in  pamphlet 
form  in  London,  by  Chatto  and  Windus,  in  1888.  It  provoked  a 
strong  criticism  by  Swinburne  in  the  “Fortnightly  Review”  of  June 
of  that  year,  and  the  consequent  controversy  severed  the  intimate 
relations  between  Swinburne  and  Whistler.  The  “Ten  o’Clock”  was 
later  translated  into  French  by  Whistler’s  friend,  M.  Stephane  Mal- 
larme. 

Renewed  interest  in  lithography  led  Whistler  to  make  three  litho- 
graphic drawings  in  1887,  and  to  authorize  the  issue  in  that  year  of  a 
set  made  up  of  “ Limehouse,”  “ Nocturne,”  “ Battersea  Bridge,”  “ Read- 
ing,” “Gaiety  Stage  Door”  and  “Victoria  Club,”  published  in  London, 
under  the  title  of  “Notes,”  by  Messrs.  Boussod,  Valadon  & Co.  A 
succession  of  lithographs  appeared  from  that  time  until  about  the 
end  of  1896.  Some  of  these  were  published  in  “The  Whirlwind,” 
“The  Albemarle,”  “The  Studio,”  “L’Estampe  Originate, ” “The  Art 
Journal,”  “The  Pageant,”  and  “L’lmagier, ” periodicals  of  the  time, 
and  one  of  them,  a portrait  of  Mr.  Joseph  Pennell,  formed  the  frontis- 
piece of  “Lithography  and  Lithographers,”  written  by  Joseph  and 
Elizabeth  Robins  Pennell,  published  by  T.  Fisher  Unwin,  London, 
1898.  From  first  to  last,  about  one  hundred  and  sixty-five  litho- 
graphs were  produced  by  Whistler,  of  which  one  hundred  and  sixty 
are  described  in  the  second  edition  of  the  catalogue  compiled  by  Mr. 
Thomas  R.  Way,  entitled,  “Mr.  Whistler’s  Lithographs,”  published  in 
1905,  in  London  by  George  Bell  & Sons,  and  in  New  York  by  H.  Wun- 
derlich & Co. 

These  lithographs  comprise  a wide  range  of  subjects  as  well  as  of 
localities — portraits,  figures,  groups,  street  scenes  and  river  views,  pic- 
turesque houses  and  churches,  and  some  of  the  larger  aspects  of  towns 
and  cities.  They  are  wonderfully  graphic  and  expressive;  keen  in 
the  rendering  of  personal  traits  and  remarkable  in  preserving  the  pe- 
culiar characteristics  of  places.  They  were,  for  the  most  part,  joyous 
records,  and  revealed  a phase  of  the  artist’s  temperament  which  had 
not  found  equal  expression  through  any  other  medium.  Extending 
to  experiments  in  colors,  they  developed,  in  beautiful  results,  the 
rare  capabilities  of  the  process. 


XXXI 


INTRODUCTION 


As  memorials  of  the  Jubilee  of  Queen  Victoria  in  1887,  Whistler 
made  an  etching  and  a dry-point  of  Windsor  Castle  and  an  etching  of 
Chelsea — “Where  She  lives  and  where  / live,”  he  is  reported  to  have 
said;  also  an  etching  of  the  service  in  Westminster  Abbey,  besides 
a series  of  twelve  etchings,  done  in  a single  day,  on  the  occasion  of 
the  Naval  Review  in  July  of  that  year. 

In  September,  1887,  he  made  a visit  to  Belgium,  and  signalized  the 
excursion  by  etchings  made  at  Ostend,  Bruges  and  Brussels;  those 
that  were  made  at  Brussels  forming  an  important  series. 

Re-visiting  Holland  not  very  long  after,  he  made,  principally  at 
Dordrecht,  a considerable  number  of  water-colors,  some  of  which 
formed  a part  of  an  important  exhibition  of  paintings,  drawings  and 
pastels  which,  in  March,  1889,  was  opened  at  the  Wunderlich  Gallery 
in  New  York,  with  a catalogue  similar  to  that  of  the  London  Exhi- 
bition of  1884,  and  bearing  the  same  title.  Also  in  the  year  1889,  at 
Amsterdam  and  at  Zaandam,  he  etched  a series  of  memorable  plates, 
impressions  from  which  were  issued  early  in  the  year  1890. 

To  the  New  English  Art  Club  Whistler  sent,  in  1888,  a “White 
Note”  and  a Brussels  etching,  and  in  1889  a pastel,  “Rose  and  Red.” 

In  1888  the  portrait  of  Carlyle  was  shown  in  the  fine-arts  section  of 
a general  exhibition  at  Glasgow,  with  the  ultimate  result  that  the 
painting  was  purchased  in  1891  by  the  Corporation  of  Glasgow. 

In  May,  1888,  at  the  Durand-Ruel  Gallery  in  Paris,  Whistler  ex- 
hibited a portrait,  a few  nocturnes,  and  a selection  of  etchings  of  the 
Naval  Review,  of  shops  in  London,  of  children  in  Gray’s  Inn  gardens, 
and  of  street  scenes  in  Brussels. 

It  was  also  in  1888  that  Whistler  exhibited  the  portrait  of  Lady 
Archibald  Campbell  in  Munich,  where  he  received  only  a second-class 
medal,  but  was  elected  an  honorary  member  of  the  Royal  Academy 
of  Bavaria.  A year  later  he  received  a first-class  medal  at  Munich 
and  a gold  medal  at  Amsterdam. 

Having  married,  in  London,  on  August  11,  1888,  Mrs.  Beatrix 
Godwin,  the  widow  of  his  friend,  the  architect  of  “The  White  House,” 
Whistler  journeyed  that  year  in  Touraine,  making  many  etchings  and 
a few  water-colors,  and  went  as  far  south  as  Bourges. 

xxxii 


BIOGRAPHICAL  SKETCH 


In  1889  a small  collection  of  Whistler’s  paintings  was  exhibited 
in  London  by  Miss  Gould,  in  the  rooms  of  the  Working-Woman’s  Col- 
lege, including  the  portraits  of  Whistler’s  mother,  Thomas  Carlyle,  Miss 
Alexander,  Miss  Rosa  Corder  and  Henry  Irving.  In  the  same  year  the 
portrait  of  the  artist’s  mother  was  exhibited  at  the  Institute  of  Fine 
Arts  in  Glasgow,  and  a picture  by  Whistler,  entitled  “The  Grey  Lady,” 
was  exhibited  at  the  Art  Institute  in  Chicago. 

At  the  Paris  Exposition  of  1889  Whistler,  after  some  controversy 
with  General  Rush  C.  Hawkins,  Chief  of  the  United  States  Depart- 
ment of  Fine  Arts,  exhibited  in  the  British  section  several  selected 
etchings,  besides  the  “ Portrait  of  Lady  Archibald  Campbell  ” and  “The 
Balcony” — paintings  which  brought  the  artist  the  award  of  a gold 
medal. 

The  election  of  Whistler  to  an  honorary  membership  in  the  Royal 
Academy  of  Bavaria  in  1888  became  the  occasion  of  a complimentary 
dinner,  given  to  him  in  London  on  May  1,  1889,  “in  recognition  of 
his  influence  on  art  at  home  and  abroad,”  as  well  as  in  congratula- 
tion upon  this  special  honor.  In  the  same  year  he  was  made  chev- 
alier of  the  Legion  of  Honor,  and  in  1891  officer  of  the  same  order. 
He  also  became  a chevalier  of  the  Order  of  St.  Michael.  Other  dis- 
tinctions bestowed  upon  him  were  elections  to  honorary  membership 
in  the  Societe  Nationale  des  Beaux-Arts,  in  the  Royal  Academy  of 
St.  Luke,  Rome,  in  the  Royal  Academy  of  Dresden  and  in  the  Royal 
Scottish  Academy.  The  degree  of  LL.D.  was  conferred  upon  Whistler 
by  Glasgow  University  in  1903. 

Before  1890  Whistler  had  decided  to  publish  in  one  volume  all  of 
his  writings,  including  letters  printed  in  various  journals,  and,  for  the 
purpose  of  bringing  these  together,  had  employed  Mr.  Sheridan  Ford, 
an  American  journalist.  In  consequence  of  some  disagreement  in  the 
business,  Mr.  Ford  undertook  himself  to  launch  the  publication.  The 
book,  with  the  title:  “The  Gentle  Art  of  Making  Enemies,  Edited  by 
Sheridan  Ford,”  made  its  first  appearance  in  1890,  with  the  imprint 
of  Frederick  Stokes  and  Brother,  New  York,  as  publishers — who  cabled 
that  their  names  had  been  used  without  their  permission.  Later  in 
the  same  year  it  was  issued  at  Paris  with  the  same  title  and  with  the 

xxxiii 


INTRODUCTION 


imprint  of  Delabrosse  et  Cie,  as  publishers — described  in  each  case  as  a 
first  edition.  About  the  same  time  an  attempt  was  made  to  put  forth 
an  edition  in  Brussels,  described  as  a second  edition — ■“  (Original  Au- 
thorized Edition).” 

After  setting  in  motion  vigorous  measures  to  prevent  the  circu- 
lation of  these  editions,  with  the  result  that  they  were  virtually  sup- 
pressed everywhere — in  Belgium  through  legal  proceedings — Whist- 
ler himself  took  the  compilation  in  hand,  and  in  1890  the  volume  in 
authorized  form,  in  large-paper  and  small-paper  copies,  and  with  the 
same  title — “The  Gentle  Art  of  Making  Enemies” — was  published 
by  William  Heinemann  in  London  and  by  John  W.  Lovell  Co.  in  New 
York.  A second  edition,  somewhat  enlarged,  issued  by  the  same 
publishers,  appeared  in  1892,  and  was  reissued  by  G.  P.  Putnam’s 
Sons  in  New  York  in  1904. 

With  the  Societe  Nationale  des  Beaux-Arts,  which  had  been  formed 
in  1890,  Whistler  exhibited,  at  the  Salon  of  the  Champ-de-Mars  in 
Paris  in  1891,  his  portrait  of  Miss  Rosa  Corder  and  the  marine,  “Val- 
paraiso,” both  of  which  paintings  were  shown,  later  in  the  same  year, 
at  the  annual  fine-arts  exhibition  in  Munich. 

Returning  to  London  from  his  journeyings  in  Lrance,  Whistler  lived 
for  a time  at  the  Tower  House,  Chelsea,  and  then  at  No.  21  Cheyne 
Walk.  There,  in  1891,  he  took  in  hand  again  a number  of  the  first 
published  set  of  Venice  etchings,  and  these,  in  the  latest  states,  were 
separately  issued  by  the  Pine  Art  Society. 

In  March,  1892,  a loan  exhibition  was  made  at  the  Goupil  Gal- 
lery, London,  which  comprised  forty-four  characteristic  paintings  by 
Whistler  and  brought  together  many  of  the  artist’s  finest  works. 
Among  the  portraits  shown  were  those  of  Whistler’s  mother,  Thomas 
Carlyle,  Miss  Alexander,  Miss  Rosa  Corder,  Lady  Archibald  Campbell, 
Lady  Meux — the  “Harmony  in  Pink  and  Grey,”  and  the  “Lady  with 
the  Pur  Jacket”;  among  the  figure-pieces  were  “Die  Lange  Leizen — of 
the  Six  Marks,”  “The  Music  Room,”  “The  Balcony,”  “The  Gold 
Screen,”  the  “Symphony  in  White,  No.  11”  and  the  “Symphony  in 
White,  No.  Ill”;  among  the  earlier  works,  the  “ Blue  Wave,  Biarritz,” 
“The  Ocean,”  and  “Crepuscule:  Valparaiso,”  and  among  the  noc- 


XXXIV 


BIOGRAPHICAL  SKETCH 


turnes,  “Chelsea,”  “Chelsea  Embankment — Winter,”  “Chelsea  in 
Ice,”  “Chelsea  Snow,”  “The  Fire  Wheel,”  “The  Falling  Rocket,” 
“Valparaiso,”  “Westminster  Bridge,”  “Battersea  Reach,”  “Old 
Battersea  Bridge,”  “Trafalgar  Square — Snow,”  “Cremorne  Lights,” 
“Southampton  Water,”  “Bognor”  and  “St.  Mark’s,  Venice.”  The 
catalogue  by  Whistler  of  this  exhibition,  entitled  “Nocturnes,  Marines 
& Chevalet  Pieces,”  contained  copious  extracts  from  earlier  criticisms 
of  his  paintings,  as  “The  Voice  of  a People.”  After  the  exhibition, 
photographic  reproductions  of  twenty-four  of  these  paintings  were 
published  under  the  catalogue  title. 

In  1892  another  of  the  portraits  of  Lady  Meux — “Harmony  in 
Grey  and  Rose  Colour” — and  a number  of  nocturnes  were  included  in 
the  exhibition  of  the  Salon  of  the  Champ-de-Mars. 

In  1892  Whistler  removed  to  Paris  and  soon  took  up  his  residence 
at  No.  1 10  Rue  du  Bac,  in  a house  with  a walled  garden,  and  secured 
a commodious  studio  in  the  Rue  Notre-Dame-des-Champs,  in  a tall 
building  from  the  balcony  of  which  there  was  a broad  outlook.  It 
was  in  this  studio  that  he  began  or  finished  a number  of  portraits — 
among  them  the  portrait  of  Mrs.  Whistler,  the  “ Harmony  in  Red,”  the 
portraits  of  Mr.  George  W.  Vanderbilt  and  Mrs.  Vanderbilt,  the  half- 
length  portrait  of  Whistler,  now  belonging  to  Mr.  Vanderbilt,  the  por- 
trait of  Mr.  Arthur  Jerome  Eddy,  the  portrait  of  Count  Robert  de 
Montesquiou-Fezensac  and  the  portrait  of  Lady  Eden. 

The  painting  of  Lady  Eden’s  portrait  was  the  occasion  of  a con- 
troversy and  litigation.  The  commission  was  to  paint  the  head  only, 
the  price  to  be  from  one  hundred  to  one  hundred  and  fifty  guineas. 
Begun  early  in  January,  1894,  the  picture  grew,  through  the  artist’s  in- 
terest in  the  work,  to  an  importance  beyond  what  he  had  contemplated, 
but  was  nearly  finished  by  the  fourteenth  of  February.  On  that  day 
Sir  William  Eden  thrust  upon  the  artist,  as  a “valentine,”  an  envelope 
containing  a cheque  for  one  hundred  guineas ! Resenting  the  baronet’s 
attempt  thus  to  fix  the  price  at  the  minimum,  Whistler  ironically  ac- 
knowledged the  cheque  as  a “valentine.”  The  painting,  withheld  by 
Whistler,  was  exhibited  at  the  Salon  of  the  Champ-de-Mars  in  1894, 
under  the  title,  “Brown  and  Gold:  Portrait  of  Lady  E.”  When  Sir 


XXXV 


INTRODUCTION 


William  Eden  brought  suit  in  a French  court  to  obtain  possession  of 
the  painting,  Whistler  tendered  back  the  hundred  guineas  and  painted 
out  Lady  Eden’s  features.  The  court  of  first  instance  ruled  that  the 
artist  must  refund  the  money  with  interest,  hand  over  the  picture  and 
pay  iooo  francs  as  damages.  On  Whistler’s  appeal,  the  higher  court 
struck  out  the  direction  for  the  delivery  of  the  picture,  sustaining  the 
artist’s  view  that  the  agreement  was  not  a contract  to  sell,  but  merely 
an  obligation  to  execute,  or,  in  default  of  completion,  to  pay  the  con- 
sequent damages. 

The  story  of  the  case,  told  by  Whistler  in  English,  with  comments, 
under  the  title  of  “Eden  versus  Whistler — The  Baronet  & The  Butter- 
fly,” was  published  in  Paris  in  1899  by  Louis-Henry  May,  and  in  the 
same  year  in  New  York  by  R.  H.  Russell. 

In  1893  “The  Balcony,”  which  the  year  before  had  formed  the 
beginning  of  the  Freer  Collection  of  paintings  by  Whistler,  was  shown 
at  an  exhibition  in  New  York  of  the  Society  of  American  Artists,  of 
which  Whistler  had  become  a member  in  1880,  and  in  1893  the  earliest 
portrait  of  Lady  Meux,  the  “Arrangement  in  White  and  Black,”  was 
exhibited  at  the  Grafton  Gallery  in  London. 

At  the  World’s  Columbian  Exposition  at  Chicago,  in  1893,  six  paint- 
ings by  Whistler  were  shown — “ La  Princesse  du  Pays  de  la  Porce- 
laine,”  “A  Chelsea  Girl,”  “The  Fur  Jacket,”  the  portrait  of  Lady 
Archibald  Campbell,  under  the  title  of  “The  Lady  with  the  Yellow 
Buskin,”  “Nocturne:  Valparaiso,”  and  “ Harmony  in  Blue  and  Silver.” 
These  paintings  and  a representative  group  of  his  etchings  brought 
the  artist  medals  with  special  comment.  All  but  the  last  of  the  six 
paintings  were  shown  at  the  annual  exhibition  of  the  Pennsylvania 
Academy  of  the  Fine  Arts  in  the  winter  of  1893-4.  Whistler  received 
the  Temple  Gold  Medal  for  “The  Lady  with  the  Yellow  Buskin,”  a 
like  honor  being  awarded  at  the  same  time  to  Mr.  John  S.  Sargent  for 
his  “Portrait  of  Ellen  Terry  as  Lady  Macbeth.”  Not  long  after,  “The 
Lady  with  the  Yellow  Buskin”  passed  into  the  Wilstach  Collection  in 
Philadelphia. 

In  1894  there  were  exhibited  at  the  Salon  of  the  Champ-de-Mars, 
besides  the  portrait  of  Lady  Eden,  a selection  of  nocturnes  and  marines 


XXXVI 


BIOGRAPHICAL  SKETCH 


and  the  recently  finished  portrait  of  Count  Robert  de  Montesquiou- 
Fezensac,  an  “Arrangement  in  Black  and  Gold.” 

In  1895  Whistler  sent  “The  Little  White  Girl  " to  the  International 
Exhibition  in  Venice,  and  his  new  portrait  of  Mrs.  Walter  Sickert  to 
the  Institute  of  Fine  Arts  in  Glasgow,  and  in  that  year  received  the 
honor  of  a gold  medal  at  Antwerp. 

While  living  in  Paris  between  1892  and  1895,  Whistler  visited  Nor- 
mandy and  Brittany,  making  lithographs  at  Rouen,  Yitre,  Paimpol 
and  Lannion.  In  the  latter  year  seventy-five  of  his  lithographs  were 
shown  in  London  by  the  Fine  Art  Society,  which  issued  a catalogue 
with  a prefatory  note  by  Mr.  Joseph  Pennell. 

In  1895  Whistler  was  for  a time  at  Lyme  Regis,  where  he  found 
the  subjects  for  “Little  Rose  of  Lyme  Regis”  and  “The  Blacksmith,” 
both  now  in  the  Museum  of  Fine  Arts  in  Boston.,  and  for  a number  of 
lithographs.  More  lithographs  were  made  in  1896,.  in  London,  where 
Whistler  was  then  staying  on  account  of  the  illness  of  Mrs.  Whistler, 
which  ended  fatally  in  that  year. 

In  September,  1896,  some  months  after  Mrs.  Whistler's  death, 
Whistler,  while  on  his  way  to  Paris,  halted  awhile  at  Calais,  where,  it 
appears,  he  did  no  painting,  but  probablv  made  the  etching  entitled 
“The  Market.” 

Returning  to  Paris,  Whistler  continued  there  intermittently  for 
the  next  three  years.  Within  this  period  he  became  connected  with 
a school  in  which  painting  was  taught,  opened  in  the  autumn  of  1S9S 
in  the  Passage  Stanislas,  oft  the  Rue  Notre-Dame-des -Champs.  Erro- 
neously announced  as  the  "Academie  Whistler.  " it  was  afterward 
called  the  “Academie  Carmen."  after  Madame  Carmen  Rossi,  under 
whose  financial  management  it  was  opened.  For  a time  Mr.  Frederick 
MacMonnies  was  associated  with  Whistler  in  the  system  of  instruction, 
teaching  the  sculptor  pupils  and  criticising  the  drawing,  while  Whistler 
taught  his  own  method  of  painting.  Owing  in  a measure  to  Whistler's 
illness  and  enforced  absence,  the  school,  which  had  been  removed  to 
the  Boulevard  Montparnasse,  was  discontinued  in  1001 : but  two  of  the 
foremost  students  were  meanwhile  formally  apprenticed  to  him  for 
the  term  of  five  years  “to  learn  the  art  and  craft  of  a painter." 

xxxvii 


INTRODUCTION 


When  the  International  Society  of  Sculptors,  Painters  and  Grav- 
ers, inaugurated  in  London,  late  in  1897,  as  an  “Art  Congress,”  was 
finally  organized,  in  1898,  Whistler  became  its  president.  He  con- 
tinued to  hold  the  office  until  his  death,  and  he  was  always  a leading 
spirit  in  the  society.  At  its  “Exhibition  of  International  Art,”  at 
Knightsbridge  in  1898,  he  was  well  represented  by  “The  Thames  in 
Ice,”  “At  the  Piano,”  “Portrait  of  Rosa  Corder,”  “La  Princesse  du 
Pays  de  la  Porcelaine,”  “The  Little  Blue  Bonnet,”  “ La  Petite  Souris,” 
and  “Nocturne:  Valparaiso,”  besides  two  small  paintings  and  a litho- 
graph. In  the  exhibition  of  1899  there  appeared:  “Violet  and  Rose: 
Carmen  qui  rit,”  “Nocturne  in  Brown  and  Gold:  Chelsea  Rags,” 
“Blue  and  Silver:  Trouville,”  “Brown  and  Gold:  Lillie  in  Our  Alley,” 
“Rose  and  Brown:  La  Cigale,”  and  “Rose  and  Gold:  The  Little  Lady 
Sophie  of  Soho,”  besides  sixteen  etchings  and  a lithograph.  In  1901 
the  president’s  contributions  were  “Gold  and  Orange:  The  Neigh- 
bors,” “Green  and  Silver:  The  Great  Sea,”  “Grey  and  Silver:  Pour- 
ville,”  “Purple  and  Gold:  Phryne  the  Superb,  Builder  of  Temples,” 
and  “The  Golden  Lilly,”  besides  two  pastels:  “A  Violet  Note”  and 
“The  Captive.” 

In  1897  the  “Girl  Reading”;  in  1898  “Westminster  Bridge,” 
“The  Blue  Wave,  Biarritz,”  a “Symphony  in  Violet  and  Blue”  and 
“A  Note  in  Carmine,”  and  in  1899  “The  Music  Room” — appeared  in 
the  exhibitions  in  New  York  of  the  Society  of  American  Artists.  In 
1898  “A  Note  in  Carmine”  and  “Symphony  in  Violet  and  Blue”  were 
included  in  the  annual  exhibition  of  the  Pennsylvania  Academy  of 
the  Fine  Arts.  In  the  Academy’s  exhibition  of  1899  “The  Music 
Room”  was  shown,  and  in  the  exhibition  of  1900,  the  “Nocturne  in 
Black  and  Gold:  The  Falling  Rocket,”  which  had  been  the  occasion  of 
the  Ruskin  controversy. 

In  1898  the  “Company  of  the  Butterfly,”  originated  by  Whistler 
and  probably  his  affair  throughout,  was  launched,  in  London,  as  a con- 
venient agency  for  the  sale  of  his  work  without  the  intervention  of  the 
dealers  and  with  relief  from  the  annoyance  of  negotiation  at  the  studio. 
Rooms  were  taken  at  No.  2 Hinde  Street,  Manchester  Square,  and  one 
of  these  was  tastefully  decorated  and  fitted  up  for  exhibition  purposes. 

xxxviii 


BIOGRAPHICAL  SKETCH 


As  late  as  the  summer  of  1900— when  the  compiler  visited  the  place — 
framed  etchings  and  lithographs  were  on  the  walls  and  a few  small 
pictures  were  displayed.  But  the  venture,  it  seems,  failed  to  accom- 
plish its  object,  and  was  virtually  abandoned  some  time  prior  to  Whist- 
ler’s death. 

By  the  opening  of  the  twentieth  century,  Whistler  had  finally 
removed  to  London,  already  having  a studio  at  No.  8 Fitzroy  Street, 
Fitzroy  Square,  and  was  busily  at  work.  In  the  summer  of  1900  he 
made  visits  to  Holland  and  Ireland,  bringing  back  each  time  a few 
small  pictures,  executed  with  unimpaired  skill  and  unblemished  charm. 
Lingering  at  Chester,  on  his  way  home  from  Ireland,  he  made  some 
exquisite  drawings  with  pen  and  ink  of  picturesque  old  houses  charac- 
teristic of  the  place. 

At  the  Paris  Exposition  of  1900  Whistler  exhibited  in  the  United 
States  section,  where  “The  Little  White  Girl,”  “ L’Andalouse” — the 
title  given  to  a full-length  portrait  of  Mrs.  Charles  Whibley,  and  the 
full-length  “Portrait  of  the  Artist”— now  destroyed — were  shown, 
besides  etchings  and  lithographs.  He  was  awarded  a Grand  Prix  for 
painting  and  another  for  engraving. 

Relinquishing  a renewed  plan  of  going  to  Madrid  to  see  the  pic- 
tures there,  he  journeyed  by  water,  in  December,  1900,  to  Gibraltar, 
on  his  way  to  Tangier,  where  he  made  a considerable  number  of 
sketches,  and  to  Algiers,  where  his  work  was  hindered  by  inclement 
weather.  Crossing  to  Marseilles,  he  was  detained  there  for  a while  by 
illness,  and  then  sailed  for  Ajaccio,  remaining  away  from  London  until 
May,  1901.  While  in  Corsica  he  sketched  a variety  of  subjects  and 
made  drawings  on  a few  plates,  one  of  which  was  successfully  bitten 
and  printed — others  becoming  damaged  beyond  remedy. 

In  1901,  at  the  Pan-American  Exposition  in  Buffalo,  “The  Music 
Room,”  “The  Balcony,”  “The  Blacksmith,  Lyme  Regis,”  “South- 
ampton,” “ Bognor,”  and  two  small  marines  were  exhibited,  besides  a 
selection  of  the  etchings,  and  Whistler  received  gold  medals  for  both 
etchings  and  paintings. 

In  the  Glasgow  International  Exhibition  of  1901  Whistler  was 
represented  by  “The  Thames  in  Ice,”  “La  Princesse  du  Pays  de  la 


XXXIX 


INTRODUCTION 


Porcelaine,”  “The  Fur  Jacket,”  and  a nocturne  and  two  water-colors; 
all  shown  among  the  works  of  “Living  British  Artists.” 

In  1901  the  “Nocturne:  Southampton  Water,”  belonging  to  the  Art 
Institute  of  Chicago,  was  lent  for  the  annual  exhibition  of  the  Penn- 
sylvania Academy  of  the  Fine  Arts.  In  the  Academy’s  exhibition  of 
1902  “L’Andalouse”  and  a group  of  etchings  were  shown,  and  Whist- 
ler received  the  Academy  Gold  Medal  of  Honor.  The  same  year,  in 
New  York  “L’Andalouse”  and  the  famous  “Nocturne  in  Black  and 
Gold:  The  Falling  Rocket”  were  conspicuous  features  of  the  exhibi- 
tion of  the  Society  of  American  Artists,  and  the  “ Little  Cardinal  ” was 
shown  at  the  Salon  and  in  the  Portrait  Painters’  Exhibition  in  London. 

In  1902  Whistler  took  a house,  containing  a large  studio,  at  No. 
74  Cheyne  Walk,  Chelsea,  not  far  from  where  he  had  lived  in  former 
days.  In  this  studio  he  continued  to  work,  except  during  his  absence 
or  illness,  during  the  rest  of  his  life. 

Early  in  July  of  1902  he  undertook  still  another  journey  to  Hol- 
land, where  he  suffered  from  a serious  illness  from  which  his  recovery 
was  slow.  It  became  sufficiently  assured,  however,  to  permit  of  his 
returning  to  London  before  the  end  of  the  year  and  to  warrant  his 
proceeding  with  a number  of  portraits  which  were  already  in  progress. 

The  taste  which  Whistler  had  so  early  formed  for  blue-and-white 
porcelain  was  supplemented  by  a special  fondness  for  beautiful  old 
silver,  of  which  he  made  a choice  collection.  Many  of  his  finest  pieces, 
shown  together  and  arranged  according  to  his  instructions,  in  a sep- 
arate case,  formed  a notable  section  of  a loan  exhibition  of  old  silver, 
late  in  1902,  in  the  rooms  of  the  Fine  Art  Society. 

In  the  summer  of  1903  he  was  once  more  taken  seriously  ill,  and 
he  died  suddenly  at  his  home,  on  the  seventeenth  day  of  July.  His 
funeral,  to  which  old  friends  came  to  do  him  honor,  was  held,  on  July 
the  twenty-second,  in  Chelsea  Old  Church,  and  the  same  day  he  was 
buried  by  the  side  of  his  wife  in  the  churchyard  at  Chiswick,  in  which 
Hogarth  also  lies  buried. 

Whistler’s  grave  is  as  yet  unmarked  by  a memorial  stone,  but  a 
tablet  in  his  memory  was  unveiled  in  the  library  at  West  Point,  Octo- 
ber 24,  1907 — the  gift  of  The  Copley  Society  of  Boston  and  the  work 

xl 


BIOGRAPHICAL  SKETCH 


of  the  sculptor  Augustus  Saint-Gaudens— the  last  stone,  it  is  said, 
that  his  chisel  ever  touched.  The  inscription  bears  the  concluding 
words  of  the  “Ten  o’clock,”  and  reads  thus: 

TO 

JAMES  McNEILL 
WHISTLER 

MDCCCXXXIV 

MCMIII 

THE  STORY  OF  THE 
BEAUTIFUL 

IS  ALREADY  COMPLETE 
HEWN  ON  THE  MARBLES 
OF  THE  PARTHENON 
AND  BROIDERED  WITH 
THE  BIRDS  UPON  THE 
FAN  OF  HOKUSAI 

Admirers  of  Whistler,  principally  artists  and  men  of  letters,  are 
about  to  erect  in  his  honor  in  the  Embankment  Gardens,  Chelsea, 
near  his  former  home  in  Cheyne  Walk,  a memorial  in  bronze,  the 
creation  of  the  sculptor  Auguste  Rodin,  who  succeeded  Whistler  as 
President  of  the  International  Society  of  Sculptors,  Painters  and 
Gravers.  A replica  of  this  work,  secured  mainly  through  local  sub- 
scription, is  to  be  erected  in  Lowell,  Whistler’s  birthplace,  and  it  is 
proposed  to  erect  in  Paris  a second  replica,  as  a gift  from  American  and 
English  art-lovers  to  France. 

Since  Whistler’s  death,  three  significant  memorial  exhibitions  of 
his  works  have  been  held,  each  representing,  with  remarkable  com- 
prehensiveness, all  the  various  phases  of  his  art— in  Boston  by  The 
Copley  Society,  in  February  and  March,  1904;  in  London,  by  the  In- 
ternational Society  of  Sculptors,  Painters  and  Gravers,  in  February, 
March  and  April,  1905;  and  in  Paris,  at  the  Palais  de  l’Exole  des 
Beaux-Arts,  in  May  of  that  year. 

xli 


INTRODUCTION 


PERIODS 

ETCHING 


Representative  as  they  were,  these  exhibitions,  nevertheless,  taken 
together,  fell  materially  short  of  comprising  the  great  sum  of  Whistler’s 
work — the  extent  of  which  it  has  been  possible  to  indicate,  but  not 
fully  to  describe,  in  the  foregoing  sketch  of  his  career. 

These  exhibitions  were  a clear  demonstration  of  what,  to  observing 
eyes  and  to  discerning  minds,  had  long  been  manifest — that  here  was  a 
marvellous  artist,  and  one  who  had  explored  with  signal  achievement 
nearly  every  realm  of  art.  He  now  stood  revealed  to  all  the  world  as  a 
painter  who  compelled  technical  mastery  to  serve  the  supreme  purpose 
of  beautiful  expression.  Thus  he  had  produced  portraits  which  might 
take  their  places  with  the  masterpieces  of  the  centuries,  delineations 
of  figures  that  are  enchanting  through  the  blended  charm  of  grace 
and  color,  nocturnes  unsurpassed  in  their  rendering  of  the  tranquil 
loveliness  of  the  night,  marines  wonderful  in  their  interpretation  of  the 
changeful  and  entrancing  moods  of  the  sea.  It  was  also  perceived  how 
wide  was  the  range  of  the  exquisite  creations  he  had  wrought  through 
the  medium  of  water-color  and  pastel.  The  extent  of  his  work  in 
lithography  came  as  a revelation  to  the  many,  while  the  delightfulness 
of  the  lithographs  became  a joy  to  all.  From  a comprehensive  view  of 
his  etchings  it  became  clear  that  in  keenness  of  observation  and  range 
of  appreciation,  in  faculty  of  selection  and  power  of  concentrative  and 
concise  expression,  in  masterly  use  of  line  and  effective  rendering  of 
contrasts  of  light  and  shade,  in  boldness  and  strength  and  in  delicacy 
and  refinement  as  well,  Whistler  was  not  only  the  unsurpassed  etcher, 
but  a supreme  artist. 

As  an  artist  Whistler  was  a man  of  his  own  time,  sincere  in  his  art, 
individual  in  its  expression — a master  whose  triumphs  rank  him  with 
the  masters  of  all  time. 


of  Whistler  was  an  etcher  before  his  career  in  art  was  fairly  begun. 

The  impulse  to  express  himself  through  etching  came  with  the  op- 
portunity at  Washington  which  placed  the  etcher’s  tools  in  his  hand. 
It  is  unlikely  that  he  would  in  any  case  have  long  continued  in  routine 
service  there,  employing  merely  the  skill  that  practice  so  early  de- 

xlii 


PERIODS  OF  ETCHING 


veloped;  but  time  might  have  passed  which  we  now  see  could  scarcely 
have  been  otherwise  than  wasted.  We  may,  therefore,  rejoice  in  the 
official  severity  which  so  soon  released  from  his  artisan  chrysalis  the 
artist  who,  in  after  years,  not  inaptly  took  the  butterfly  as  his  symbol. 
Nevertheless,  the  few  small  plates  etched  in  Paris  within  the  two 
years  following  his  definite  choice  of  art  as  a career,  gave  little  more 
augury  of  great  achievement  than  the  random  sketches  on  the  “Coast 
Survey  Plate.”  It  was  not  until  after  the  Alsatian  journey  that 
Whistler  really  found  himself  as  an  etcher.  With  the  etchings  which 
are  records  of  that  experience  his  genius  burst  forth  into  splendid 
expression;  yet  was  not  then  untrammelled,  for  his  finest  works  in 
etching  were  for  a while  based  on  preliminary  sketches  in  some  other 
medium.  For  no  long  period,  however,  was  this  his  practice;  soon 
it  became  his  rule  to  draw  the  subject  with  the  needle  directly  upon 
the  plate — a rule  almost  never  departed  from  during  the  rest  of  his 
career.  Days  are  recalled  when,  as  late  as  1892,  Whistler  was  seen 
strolling  about  Paris,  alert  for  the  picturesque,  to  make  it  appear 
more  beautiful  on  the  plates  which  were  carried  in  his  pocket. 

Wnistler’s  etchings  and  dry-points  may  roughly  be  grouped  in 
periods,  the  work  within  each  period  being  distinguished  by  a style  of 
its  own,  yet  bearing  the  unmistakable  impress  of  the  artist’s  original- 
ity and  genius.  The  earliest  French  period  lies  within  the  two  years 
1857  and  1858,  when  the  etchings  produced  were  wrought  in  a vein 
never  afterward  pursued.  The  next  period,  which  runs  from  1858  to 
1864,  is  marked  by  great  productiveness,  and  is  noted  for  the  wonderful 
Thames  etchings  and  a series  of  splendid  portraits  in  dry-point.  Then 
ensues  an  interval  of  almost  complete  abandonment  of  etching,  last- 
ing for  the  rest  of  the  decade.  It  is  followed  by  what  has  come  to  be 
known  as  the  Leyland  period,  from  1870  to  1879,  chiefly  a period  of 
dry-points,  and  notable  for  a great  renewal  of  activity  and  for  variety 
in  expression — with  figures,  interiors,  landscapes,  and  Thames  scenes 
among  the  subjects  portrayed.  The  year  1879  stands  alone,  remark- 
able for  a few  noble  etchings  of  bridges  and  shipping  on  the  Thames. 
From  1879  to  1 88 1 we  have  the  Venice  period,  with  its  many  and  its 
marvellous  etchings  and  dry-points,  all  executed  in  a style  unheralded 

xliii 


INTRODUCTION 


by  previous  work.  The  time  from  1 88 1 to  the  autumn  of  1887  may 
be  claimed  as  distinctively  an  English  period,  embracing  scenes  in 
London  and  at  Sandwich,  and  closing  with  the  record  of  the  Jubilee 
Naval  Review.  Immediately  following,  from  the  autumn  of  1887  to 
1895,  is  a Continental  period,  within  which  the  Belgian  etchings,  the 
Touraine  etchings,  the  Dutch  etchings,  and  the  latest  Paris  etchings 
were  achieved.  Even  here,  while  in  manner  of  treatment  the  Belgian 
and  French  etchings  show  much  in  common,  the  Dutch  etchings,  done 
in  1889,  fairly  form  a class  and  claim  a period  by  themselves.  With 
the  latest  Paris  etchings,  which  appear  to  have  been  made  between 
1891  and  1895,  Whistler’s  work  in  etching  virtually  ceases.  Only  a 
few  plates,  taken  up  after  irregular  intervals,  were  completed  in  his 
remaining  years. 

The  methods  of  etching  employed  by  Whistler  seem  to  have  been 
very  direct  and  simple,  but  they  were  applied  with  consummate  skill. 
He  seems  not  to  have  experimented  much  with  mordants,  nor  to  have 
worked  with  the  needle  on  plates  immersed  in  the  acid  bath.  Al- 
though he  sometimes  allowed  his  plates  to  be  grounded  by  others,  he 
always  did  the  biting  himself,  accomplishing  this  with  an  amazing 
delicacy.  In  printing  it  was  not  so  much  the  press  he  used  as  the 
way  in  which  he  used  it  that  produced  the  admirable  results  with  which 
we  are  familiar.  The  choice  of  paper  for  the  impressions  of  his  own 
printing  was  with  Whistler  always  a matter  of  serious  concern.  Then, 
finishing  the  inking  by  deft,  rapid  rubbing  of  the  plate  with  his  hand, 
he  would  force  every  line  to  yield  proof  of  its  quality,  sometimes 
supplementing  the  result  with  surprising  effects  from  the  film  left 
upon  the  surface  of  the  copper.  While  thus  conservative  with  regard 
to  appliances,  he  was  daring  in  their  use.  There  is  scarcely  a phase 
of  the  art  of  etching  which  he  did  not  illustrate;  no  technical  method 
of  which  he  was  not  a master;  no  skill  in  manipulation  which  he 
failed  to  employ. 

Some  of  Whistler’s  earliest  etchings  were  merely  signed  “J.  W.”; 
a few  that  followed  were  signed  “J.  Whistler,”  but  generally,  up  to 
1871,  the  signature  was  “Whistler,”  with  the  date;  after  1871  the 
signature  was  a conventional  butterfly.  Variations  of  the  butterfly 

xliv 


PUBLICATION  OF  ETCHINGS 


are  numerous,  but  all  may  be  classified  as  “shaded”  and  “in  out- 
line,” characteristic  examples  of  each  description  being  as  follows: 


Few,  comparatively,  of  the  great  number  of  the  etchings  and  dry- 
points  that  Whistler  produced  have  passed  through  the  form  of  dis- 
tinctive publication.  Earliest  among  these  were  the  etchings  of  Al- 
satian and  Parisian  subjects,  with  portraits  of  the  two  Haden  children, 
which  were  announced  on  the  title-plate  as  “Douze  Eaux  Fortes 
d'apres  Nature,  par  James  Whistler.  Imp.  Delatre,  Rue  St.  Jacques, 
1 7 1 . Paris,  Nov.,  1858” — sometimes  known  as  “The  French  Set.” 
Varying  announcements  of  this  publication  were  made  in  English 
within  the  following  year.  In  its  final  form  the  list  read: 


TWELVE  ETCHINGS 
FROM  NATURE, 

BY 

JAMES  ABBOTT  WHISTLER 


TITLE 

1 LIVERDUN 

2 LA  RETAMEUSE 

3 EN  PLEIN  SOLEIL 

4 THE  UNSAFE  TENEMENT 

5 LA  MERE  GERARD 

6 STREET  AT  SAVERNE 


7 LITTLE  ARTHUR 

8 LA  VIEILLE  AUX  LOQUES 

9 ANNIE 

10  LA  MARCHANDE  DE  MOU- 

TARDE 

11  FUMETTE 

12  THE  KITCHEN 


artist’s  PROOFS  ON  INDIA,  TWO  GUINEAS 


LONDON: 

PUBLISHED  BY  J.  A.  WHISTLER 
AT  NO.  62,  SLOANE  STREET 
PARIS:  IMPRIMERIE  DELATRE,  RUE  ST.  JACQUES,  1 7 1 


On  another  list  No.  4 was  called  “The  Old  Farm.” 


PUBLICATION 
OF  ETCHINGS 


xlv 


INTRODUCTION 


Next  in  order  of  formal  publication  came  what  is  known  as  “The 
Thames  Set,”  which  was  published  in  London  in  1871,  although  made 
up  from  plates  executed  much  earlier,  and  was  thus  announced: 


sir:  having  acquired  the  hitherto  unpublished  plates  of 

MR.  JAMES  WHISTLER’S  ETCHINGS  OF  SCENES  ON  THE  THAMES,  I BEG 
TO  INFORM  YOU  THAT  IT  IS  INTENDED  TO  TAKE  A LIMITED  NUMBER 
OF  IMPRESSIONS  (NOT  TO  EXCEED  IOO),  FOR  SUBSCRIBERS  ONLY,  AT 
£\2,  I2S.  THE  SET  OF  THIRTEEN  PLATES. 

MANY  COPIES  ARE  ALREADY  SUBSCRIBED.  SHOULD  YOU  WISH 
ME  TO  ADD  YOUR  NAME  TO  THE  SUBSCRIPTION  LIST,  I SHALL  BE  OBLIGED 
BY  YOUR  FILLING  UP  THE  ACCOMPANYING  FORM. 


33  KING  STREET,  COVENT  GARDEN,  LONDON. 


I  AM,  SIR,  YOURS  RESPECTFULLY 


F.  S.  ELLIS. 


The  set,  when  issued,  bore  the  following  description: 


A SERIES  OF 
SIXTEEN  ETCHINGS 
OF 


SCENES  ON  THE  THAMES 
AND  OTHER  SUBJECTS 


BY 


JAMES  WHISTLER 


1 BLACK-LION  WHARF 

2 WAPPING  WHARF 

3 THE  FORGE 

4 OLD  WESTMINSTER  BRIDGE 

5 WAPPING 

6 OLD  HUNGERFORD 

7 THE  POOL 

8 THE  FIDDLER 


9  THE  LIME-BURNER 
IO  THE  LITTLE  POOL 
I I EAGLE  WHARF 

12  LIMEHOUSE 

13  THAMES  WAREHOUSES 

14  MILLBANK 

15  EARlY  MORNING  (BATTERSEA) 

16  CHELSEA  BRIDGE  AND  CHURCH 


LONDON: 


ELLIS  AND  GREEN,  33  KING  STREET,  COVENT  GARDEN 
MANCHESTER  AND  LIVERPOOL:  THOMAS  AGNEW  AND  SONS 


xlvi 


PUBLICATION  OF  ETCHINGS 


In  1877  “Free-Trade  Wharf”  was  published  in  London  by  the 
Fine  Art  Society,  Limited. 

In  1878  “Billingsgate”  appeared  in  the  January  number  of  “The 
Portfolio,”  London:  Seeley,  Jackson  and  Halliday,  Fleet  Street. 

In  1879  “Battersea  Bridge”  and  “Putney  Bridge”  were  published 
in  London,  at  £6  6s.  each,  by  The  Fine  Art  Society,  which  in  the  same 
year  published,  at  £3  3s.,  “The  Little  Putney.” — No.  1,  which  was  re- 
issued in  “Four  Masters  of  Etching”  by  Frederick  Wedmore— pub- 
lished in  1883  by  The  Fine  Art  Society,  Limited,  148,  New  Bond  Street, 
London. 

In  1879  also,  “The  'Adam  and  Eve,’  Old  Chelsea,”  was  published, 
at  £6  6s.,  by  Hogarth  and  Son,  London. 

In  the  same  year  “Hurlingham”  and  “Fulham”  were  published 
in  London,  with  the  stamp  of  the  Printsellers’  Association. 

About  1879  there  were  issued,  without  date,  impressions  from  fifty- 
seven  cancelled  plates,  bound  together,  but  not  described  except  by 
the  following  title,  printed  on  the  cover  of  some  of  the  copies: 

FIFTY-SEVEN 

DEFACED 

ETCHINGS  AND  DRY-POINTS 
BY 

J.  A.  MCNEILL  WHISTLER 
THE  FINE  ART  SOCIETY,  LIMITED 
148  NEW  BOND  STREET,  LONDON 

Of  the  impressions  from  these  defaced  plates,  eleven  were  from 
plates  from  which  no  impressions  taken  before  the  plates  were  can- 
celled are  known  to  the  compiler  to  exist.  These  are  all  specifically 
noted  in  the  following  catalogue.  The  other  impressions  comprised 
many  of  the  important  etchings  and  dry-points  done  prior  to  1879, 
except  those  included  in  “The  French  Set”  and  “The  Thames  Set.” 

In  1880  “Tatting”  and  “Two  Ships”  were  published  in  London 
by  Dowdeswell  and  Dowdeswells,  although  both  plates  were  of  much 
earlier  date. 


xlvii 


INTRODUCTION 

In  1880  what  is  known  as  “The  First  Venice  Set”  was  published 
in  London  by  The  Fine  Art  Society,  under  the  title: 

VENICE 
WHISTLER 
TWELVE  ETCHINGS 

THE  FINE  ART  SOCIETY,  148  NEW  BOND  STREET,  LONDON 

Prior  to  the  publication,  this  printed  announcement  was  made: 

mr.  whistler’s 

ETCHINGS  OF  VENICE 

THE  FINE  ART  SOCIETY 

148  NEW  BOND  STREET 

LIST  OF  ETCHINGS 

1 the  “Little  Venice 

2 THE  TWO  DOORWAYS 

3 THE  BEGGARS 

4 NOCTURNE 

5 THE  DOORWAY 

6 THE  RIVA 

7 THE  BRIDGE 

8 THE  LITTLE  LAGOON 

9 THE  PALACES 

10  THE  VENETIAN  MAST 

11  THE  TRAGHETTO 

12  THE  PIAZZETTA 

A LIMITED  NUMBER  OF  IMPRESSIONS  OF  THESE  ETCHINGS  WILL 
BE  PRINTED  BY  MR.  WHISTLER 
THE  PRICE  MAY  BE  OBTAINED  ON  APPLICATION 

xlviii 


PUBLICATION  OF  ETCHINGS 


In  actual  publication  “The  Little  Mast”  was  substituted  for 
“ The  Bridge.” 

In  1 88 1 “Alderney  Street”  was  published  in  Paris  in  the  April 
number  of  the  “Gazette  des  Beaux-Arts.” 

In  1883  the  “Swan  and  Iris”  appeared  in  “Cecil  Lawson,  A Me- 
moir,” by  Edmund  W.  Gosse,  published  in  London  by  The  Fine  Art 
Society. 

In  1886  the  plate  of  “La  Marchande  de  Moutarde,”  which  had  been 
etched  nearly  thirty  years  before,  and  had  been  included  in  the  well- 
known  French  set,  was  acquired  by  the  editor  of  “English  Etchings,” 
an  art-magazine  published  quarterly  in  London  between  1885  and  1889, 
and,  after  Delatre’s  name  and  address  had  been  removed,  was  made  to 
yield  some  two  hundred  additional  impressions,  which  were  printed  by 
Goulding.  These,  according  to  Mr.  Wedmore,  were  printed  on  old 
Whatman  paper  of  1814,  a few  being  printed  on  old  Dutch  paper 
of  the  seventeenth  century.  They  were  issued  with  the  seventh  num- 
ber of  the  publication. 

In  1886  twenty-one  of  the  Venetian  subjects  of  1880  and  five 
English  subjects,  etched  a little  later,  were  published  in  London  by 
Messrs.  Dowdeswell  and  Dowdeswells,  under  the  title  of  “Twenty-six 
Etchings.” 

A preliminary  announcement  was  made  as  follows: 

A SET  OF  TWENTY-SIX  ETCHINGS 
BY 

JAMES  A.  MCN.  WHISTLER. 

MESSRS.  DOWDESWELL  HAVE  THE  HONOUR  TO  ANNOUNCE  THE  PUB- 
LICATION OF  A SET  OF  TWENTY-SIX  IMPORTANT  ETCH- 
INGS BY  MR.  WHISTLER. 


TWENTY-ONE  OF  THE  PLATES  WERE  ETCHED  IN  VENICE,  THE  REMAIN- 
ING FIVE  SUBJECTS  BEING  ENGLISH. 

THIRTY  SETS  ONLY  WILL  BE  PRINTED.  EVERY  IMPRESSION  WILL 


xlix 


INTRODUCTION 


BEAR  MR,  WHISTLER’S  AUTOGRAPH,  AND  WILL  BE  MOUNTED  ON  BOARD, 
AND  ISSUED  IN  A PORTFOLIO  SPECIALLY  DESIGNED  BY  THE  ETCHER,  WHO 
HAS  ALSO  WRITTEN  A SHORT  RESUME  OF  THE  PRINCIPLES  HELD  BY  HIM  IN 
THIS  MATTER. 

THE  PRICE  OF  THE  SET  WILL  BE  FIFTY  GUINEAS. 

THE  FOLLOWING  IS  A LIST  OF  THE  SUBJECTS: 


*DOORWAY  AND  VINE 
WHEELWRIGHT 
*SAN  BIAGIO 
*BE  AD-STRINGERS 
TURKEYS 
FRUIT  STALL 
*SAN  GIORGIO 
♦NOCTURNE  - PALACES 
LONG  LAGOON 
TEMPLE 
*THE  BRIDGE 
*UPRIGHT  VENICE 
LITTLE  COURT 


LOBSTER  POTS 
*RIVA,  NO.  2 
DRURY  LANE 
*THE  BALCONY 
FISHING  BOAT 
*PONTE  PIOVAN 

♦garden 

*THE  RIALTO 
♦LONG  VENICE 
♦FURNACE  - NOCTURNE 
♦quiet  CANAL 
LA  SALUTE  - DAWN 
LAGOON  - NOON 


OF  THOSE  MARKED  *,  TWELVE  EXTRA  IMPRESSIONS  WILL  BE  TAKEN 
AND  SOLD  SEPARATELY. 

THE  PLATES  WILL  THEN  BE  DESTROYED,  AND  IMPRESSIONS  TAKEN  TO 
SHOW  THEIR  CONDITION. 


LONDON! 

DOWDESWELL  & DOWDESWELLS, 
PUBLISHERS,  ETC. 

I33,  NEW  BOND  STREET,  W. 

1886 


With  this  set  of  etchings  Mr.  Whistler  issued  in  the  following  form 
the  “resume”  mentioned  in  the  announcement: 


1 


PUBLICATION  OF  ETCHINGS 


PROPOSITIONS. 

I.  That  in  Art,  it  is  criminal  to  go  beyond  the  means  used  in  its 
exercise. 

II.  That  the  space  to  be  covered  should  always  be  in  proper  rela- 
tion to  the  means  used  for  covering  it. 

III.  That  in  etching,  the  means  used,  or  instrument  employed, 
being  the  finest  possible  point,  the  space  to  be  covered  should  be  small 
in  proportion. 

IV.  That  all  attempts  to  overstep  the  limits  insisted  upon  by  such 
proportion,  are  inartistic  thoroughly,  and  tend  to  reveal  the  paucity 
of  the  means  used,  instead  of  concealing  the  same,  as  required  by  Art 
in  its  refinement. 

V.  That  the  huge  plate,  therefore,  is  an  offence — its  undertaking  an 
unbecoming  display  of  determination  and  ignorance — its  accomplish- 
ment a triumph  of  unthinking  earnestness  and  uncontrolled  energy — 
endowments  of  the“  duffer.” 

VI.  That  the  custom  of  “Remarque”  emanates  from  the  amateur, 
and  reflects  his  foolish  facility  beyond  the  border  of  his  picture,  thus 
testifying  to  his  unscientific  sense  of  its  dignity. 

VII.  That  it  is  odious. 

VIII.  That,  indeed,  there  should  be  no  margin  on  the  proof  to 
receive  such  “Remarque.” 

IX.  That  the  habit  of  margin,  again,  dates  from  the  outsider,  and 
continues  with  the  collector  in  his  unreasoning  connoisseurship — tak- 
ing curious  pleasure  in  the  quantity  of  paper. 

X.  That  the  picture  ending  where  the  frame  begins,  and,  in  the 
case  of  the  etching,  the  white  mount,  being  inevitably,  because  of  its 
colour,  the  frame,  the  picture  thus  extends  itself  irrelevantly  through 
the  margin  to  the  mount. 

XI.  That  wit  of  this  kind  would  leave  six  inches  of  raw  canvas 
between  the  painting  and  its  gold  frame,  to  delight  the  purchaser  with 
the  quality  of  the  cloth. 

In  accordance  with  views  thus  expressed,  Whistler,  after  the  publi- 
cation of  the  first  Venice  series,  trimmed  close  to  the  plate-mark  the 

li 


INTRODUCTION 


COLLECTIONS 
OF  ETCHINGS 


proofs  of  his  own  printing— which  included  nearly  all  impressions  of  his 
later  etchings — leaving  only  a small  jut  at  the  bottom  for  the  butterfly 
signature,  with  the  note  that  the  artist  was  also  the  printer. 

Always  solicitous  about  a proper  setting  for  his  work,  Whistler 
designed  for  his  etchings  a special  frame,  narrow  and  white,  with  two 
grooves  tinted  brown  and  running  lengthwise,  and  for  his  water- 
colors  and  pastels  wide  frames  with  yellow,  green  or  coppery  gilding, 
besides  gold  frames  in  a variety  of  forms  for  his  paintings — forms  which 
have  been  extensively  adopted  by  other  artists. 


Of  the  notable  private  collections  of  Whistler’s  etchings  that 
have  been  made  from  time  to  time,  few  of  an  early  date  remain  intact. 
Those  of  special  importance  which  have  been  dispersed  seem  worthy 
of  note,  however,  for  the  sake  of  the  record  and  because  of  the  interest 
of  the  collector  in  impressions  which  may  be  traced  to  one  or  more 
of  these  collections  by  the  stamp  of  a former  owner.  To  such  will  be 
given  priority  of  notice. 

The  collection  of  M.  Philippe  Burty,  of  Paris,  was  among  the  first 
of  these.  It  was  probably  begun  almost  at  the  date  of  Whistler’s  first 
publication,  and  contained  some  of  the  earliest  and  rarest  of  his  etch- 
ings. When  sold  at  auction  in  London  by  Sotheby, Wilkinson  & Hodge, 
in  April,  1876,  it  numbered  fifty  impressions  from  thirty-nine  plates. 
Impressions  from  this  collection  usually  bear  the  monogram  “burty” 
in  an  oval,  stamped  in  red,  although  sometimes  the  mark  is  merely  P B 
in  an  oblong. 

The  collection  of  Mr.  James  Anderson  Rose,  of  London,  which  was 
also  begun  early,  consisted  of  one  hundred  and  forty-five  impressions 
from  seventy-nine  plates,  and  was  sold  at  Sotheby’s  in  June,  1876.  At 
that  time  Whistler’s  etched  work  comprised  about  one  hundred  and 
twenty-five  plates. 

The  collection  of  Mr.  Joshua  H.  Hutchinson,  of  London,  was  made 
with  the  aid  of  the  artist,  and,  when  sold  at  Sotheby’s,  in  March,  1892, 
after  Mr.  Hutchinson’s  death,  numbered  two  hundred  and  sixty-five 
impressions  from  one  hundred  and  ninety-six  plates.  Impressions 

lii 


COLLECTIONS  OF  ETCHINGS 


from  this  collection  bear  J H H — impressed  as  a monogram  within  a 
small  circle. 

The  collection  of  Mr.  Bernard  Buchanan  Macgeorge,  of  Glasgow, 
was  not  begun  until  1885,  but  consisted  of  two  hundred  and  fifty-one 
impressions  from  two  hundred  and  eight  plates,  when  sold  at  private 
sale,  in  1901,  to  Messrs.  H.  Wunderlich  & Co.,  of  New  York,  by  whom 
it  was  dispersed.  Impressions  from  this  collection  bear  the  stamp 
B.  M.  within  a narrow  oblong. 

The  collection  of  Mr.  James  Cox  Cox,  of  Dundee,  begun  about  1886, 
consisted  of  two  hundred  and  fifty-four  impressions  from  two  hundred 
and  twenty-three  plates,  when  sold  at  private  sale,  in  1903,  after  his 
death,  to  Messrs.  Obach  & Co.,  of  London,  by  whom  it  was  dispersed. 

The  collection  of  Mr.  Mortimer  Menpes,  of  London,  numbered  two 
hundred  and  thirty-four  impressions  from  one  hundred  and  seventy- 
six  plates,  when  sold  at  private  sale,  in  1904,  to  Messrs.  Ernest  Brown 
and  Phillips,  of  London,  by  whom  it  was  dispersed. 

In  the  representative  collection  of  engravings  and  etchings  formed 
by  Mr.  Walter  S.  Carter,  of  Brooklyn,  New  York,  which,  in  1905, 
after  his  death,  was  sold  by  the  American  Art  Association,  there  were 
sixty-two  etchings  and  dry-points  by  Whistler. 

The  collection  of  Mr.  H.  S.  Theobald,  of  London,  numbered  two 
hundred  and  forty-one  impressions  from  one  hundred  and  ninety-nine 
plates,  when  it  passed  at  private  sale,  in  1906,  into  the  possession  of 
Messrs.  M.  Knoedler  & Co.,  of  New  York,  by  whom  it  was  dispersed. 
Some  impressions  from  this  collection  bear  the  mark  H S T — impressed 
as  a monogram. 

The  collection  formed  for  Queen  Victoria  by  her  librarian,  Mr. 
Richard  Rivington  Holmes,  consisted  of  one  hundred  and  forty-seven 
impressions  from  the  same  number  of  plates.  After  passing  into  the 
possession  of  King  Edward  VII,  it  was  sold  at  private  sale,  in  1906, 
to  Messrs.  Thomas  Agnew  & Sons,  of  London,  and  was  purchased  from 
them  in  that  year  by  Messrs.  H.  Wunderlich  & Co.,  of  New  York,  by 
whom  it  was  dispersed.  Impressions  from  this  collection  are  stamped 
with  an  oval  enclosing  V R and  a crown. 

The  collection  formed  by  Sir  John  Charles  Day,  of  London,  con- 

liii 


INTRODUCTION 


sisted  of  one  hundred  and  seventy-one  impressions  from  one  hundred 
and  fifty-nine  plates,  when  purchased  in  1906,  from  the  collector,  by 
Messrs.  Obach  & Co.,  by  whom  it  has  since  been  sold. 

There  remain  to  be  recorded  the  existing  public  and  private  col- 
lections of  notable  importance. 

The  collection  in  the  British  Museum,  although  seasonably  begun 
and  rich  in  early  impressions  and  states,  has,  strangely  enough,  been 
carried  no  further  than  the  second  set  of  Venice  etchings.  It  con- 
sisted in  1908  of  one  hundred  and  twenty-four  impressions  from  one 
hundred  and  three  plates. 

The  collection  in  the  Victoria  and  Albert  Museum  at  South  Ken- 
sington consisted  in  1908  of  sixty-one  impressions. 

Collections  are  also  to  be  found  in  the  Bibliotheque  Nationale  in 
Paris,  and  in  the  museums  of  Dresden,  Venice  and  Melbourne,  and  a 
few  examples  are  in  the  Boston  Museum  of  Fine  Arts  and  in  the  Met- 
ropolitan Museum  of  New  York. 

The  collection  of  Whistler’s  etchings  and  dry-points  formed  by 
Mr.  Samuel  P.  Avery,  of  New  York,  was,  in  1900,  a few  years  be- 
fore Mr.  Avery’s  death,  included  in  his  gift  to  the  New  York  Public 
Library  of  his  collection  of  about  fifteen  thousand  modern  etchings  and 
about  twenty-four  hundred  lithographs,  altogether  the  work  of  some 
nine  hundred  and  seventy-eight  artists.  Mr.  Avery  had  begun  to  collect 
Whistler’s  etchings  about  1867,  but  unfortunately  had  added  but  few 
examples  later  than  the  second  Venice  set.  This  collection,  like  that 
of  the  British  Museum,  abounds  in  states  of  the  earlier  plates.  It  con- 
sists of  two  hundred  and  twenty-seven  impressions  from  one  hundred 
and  eighty-seven  plates. 

The  collection  formed  by  Mr.  Francis  Seymour  Haden — now  Sir 
Seymour  Haden — was  begun  early  in  Whistler’s  career,  perhaps  in 
1858.  Like  the  British  Museum  Collection  and  the  Avery  Collection, 
it  included  impressions  from  numerous  states  of  the  earlier  plates 
and  went  no  further  than  the  Venice  etchings.  It  consisted  of  two 
hundred  and  one  impressions  from  one  hundred  and  forty-one  plates. 
The  whole  collection  was  sold,  in  1889,  to  Mr.  Hermann  Wunderlich, 
of  New  York,  and  in  1898,  some  years  after  Mr.  Wunderlich’s  death, 

liv 


COLLECTIONS  OF  ETCHINGS 


was  purchased  by  Mr.  Charles  L.  Freer,  of  Detroit,  and  added  to  the 
collection  which  he  had  begun  to  form  in  1888. 

Through  the  addition  of  other  collections,  as  well  as  separate  ac- 
quisitions, the  Freer  Collection  has  been  enlarged  until  it  has  come 
to  number  six  hundred  and  fifteen  impressions  from  three  hundred 
and  ninety-five  plates.  It  was  included  in  the  gift  made  by  Mr.  Freer 
to  the  Smithsonian  Institution,  by  deed  of  May  5,  1906,  and  supple- 
mental deed  of  April  1 1,  1908,  comprising  his  collections  of  oil  paint- 
ings, water-color  drawings,  pastels,  miscellaneous  drawings,  sketches, 
etchings  and  lithographs  by  Whistler,  as  well  as  the  “Peacock  Room,” 
together  with  paintings  by  a few  other  American  artists;  also  Mr. 
Freer’s  collection  of  Chinese  and  Japanese  paintings  and  his  collection 
of  potteries;  all  to  be  eventually  housed  in  a special  building  to  be  pro- 
vided by  him  in  Washington. 

The  collection  belonging  to  the  compiler  of  this  catalogue  was 
begun  in  New  York  in  1876.  It  has  not  been  formed  with  the  pur- 
pose of  comprising  examples  of  all  obtainable  states,  but  such  states 
have  been  sought  as  seemed  to  be  of  special  artistic  interest;  nor  has  an 
attempt  been  made  to  add  impressions  from  as  many  plates  as  possible, 
but  the  constant  endeavor  has  been  to  secure  fine  impressions.  The 
collection  has  grown  to  consist  of  four  hundred  and  eleven  impressions 
from  three  hundred  and  seventy-one  plates,  all  the  prints  having  been 
brought  together  by  the  purchase  of  one  at  a time. 

The  collection  of  Mr.  Henry  Harper  Benedict,  of  New  York,  begun 
in  1888,  numbered  in  1908  two  hundred  and  thirty-one  impressions 
from  one  hundred  and  ninety-three  plates. 

The  collection  formed  by  Mr.  Bryan  Lathrop,  of  Chicago,  begun  in 
1892,  consisted  in  1908  of  two  hundred  and  twenty  impressions  from 
two  hundred  and  eighteen  plates. 

The  collection  formed  by  Mr.  John  Caldwell,  of  Pittsburg,  begun 
in  1882,  contained  in  1908  one  hundred  and  sixty-nine  impressions 
from  one  hundred  and  sixty-seven  plates. 

Other  private  collections  of  importance  are  those  of  Mr.  Frank 
L.  Babbott,  of  Brooklyn,  New  York,  Mr.  Clarence  Buckingham,  of 
Chicago,  Mr.  Francis  Bullard,  of  Boston,  Mr.  John  Templeman  Cool- 
ly 


INTRODUCTION 


EXHIBITIONS 
OF  ETCHINGS 


idge,  Jr.,  of  Boston,  Mr.  and  Mrs.  Atherton  Curtis,  of  Paris,  Mr.  Theo- 
dore DeWitt,  of  New  York,  Mr.  Harris  B.  Dick,  of  New  York,  Mr.  Wat- 
son B.  Dickerman,  of  New  York,  Mr.  Judson  S.  Dutcher,  of  Watertown, 
Connecticut,  Mrs.  Henry  O.  Havemeyer,  of  New  York,  Mr.  Fisher 
Howe,  of  Boston,  Mr.  George  Lucas,  of  Paris,  Mrs.  Walter  Robert 
Parker,  of  Detroit,  Mr.  Arthur  Jeffrey  Parsons,  of  Washington,  Mr. 
Henry  L.  Quick,  of  Brooklyn,  New  York,  Mr.  Albert  W.  Scholle,  of 
New  York,  Mr.  John  W.  Simpson,  of  New  York,  Mr.  George  W. 
Vanderbilt,  of  Biltmore,  and  Mr.  John  H.  Wrenn,  of  Chicago. 


Exhibitions  designed  to  be  representative  of  Whistler’s  etched  work, 
which  have  been  held  from  time  to  time,  seem  properly  matters  for 
record  where  they  have  been  accompanied  by  catalogues  which  are 
available  for  reference. 

The  first  of  such  exhibitions  regarded  as  fairly  representative  was 
made  in  the  Department  of  Fine  Arts  of  the  World’s  Columbian  Ex- 
position in  Chicago,  in  1893.  There  were  then  shown  impressions  from 
fifty-nine  plates. 

In  1894  there  were  exhibited  at  the  St.  Botclph  Club,  in  Boston, 
impressions  from  one  hundred  and  four  plates. 

In  1900  there  were  exhibited  by  The  Caxton  Club,  in  the  building 
of  the  Art  Institute  in  Chicago,  three  hundred  and  seventy-two  im- 
pressions from  three  hundred  and  twenty-three  plates. 

At  the  Pan-American  Exposition  in  Buffalo,  in  1901,  impressions 
from  twenty-two  selected  plates  were  shown. 

The  seventy-first  Annual  Exhibition  of  the  Pennsylvania  Academy 
of  the  Fine  Arts,  in  Philadelphia,  in  1902,  included  a group  of  im- 
pressions from  sixty-seven  plates. 

At  the  Memorial  Exhibition  of  the  Works  of  Mr.  J.  McNeill  Whist- 
ler, arranged  by  The  Copley  Society  in  Boston,  in  1904,  impressions 
were  shown  to  the  number  of  two  hundred  and  thirty-four  from  two 
hundred  and  four  plates. 

There  were  exhibited  at  The  Grolier  Club  in  New  York,  in  1904, 
six  hundred  and  twenty-five  impressions  from  three  hundred  and 

lvi 


PRIOR  CATALOGUES 


ninety-six  plates,  forming  by  far  the  most  comprehensive  and  inter- 
esting exhibition  ever  made  of  Whistler’s  etched  work. 

The  Memorial  Exhibition  of  the  Works  of  J.  McNeill  Whistler, 
organized  by  the  International  Society  of  Sculptors,  Painters,  and 
Gravers  and  held  in  the  New  Gallery,  Regent  Street,  in  London,  in 
1905,  contained  two  hundred  and  eighty-four  impressions  from  the 
same  number  of  plates. 

In  the  Exposition  des  CEuvres  de  James  McNeill  Whistler,  held 
in  the  Palais  de  l’Ecole  des  Beaux-Arts,  in  Paris,  in  1905,  there  were 
shown  one  hundred  and  fifty  impressions  from  the  same  number  of 
plates. 

The  first  catalogue  of  Whistler’s  Etchings  and  Dry-points  was  prior 
compiled  by  Mr.  Ralph  Thomas,  fifty  copies  of  which  were  printed  in  catalogues 
1874,  with  this  title-page: 


A CATALOGUE 
OF  THE 

ETCHINGS  AND  DRY-POINTS 
OF 

JAMES  ABBOTT  MACNEILL  WHISTLER. 


LONDON! 

PRIVATELY  PRINTED  BY 
JOHN  RUSSELL  SMITH,  36,  SOHO  SQUARE. 

NEW  YORK:  SAMUEL  P.  AVERY,  88,  FIFTH  AVENUE. 

1874. 


It  was  preceded  by  an  etching  by  Percy  Thomas  from  a portrait 
of  Whistler  by  himself,  and  it  recorded  only  eighty-six  plates,  without 
detailed  descriptions  of  states.  The  titles  of  some  of  the  plates  were 
rather  indefinite  and  the  titles  of  others  differed  from  the  titles  under 
which  the  plates  were  afterward  described. 


lvii 


INTRODUCTION 


More  than  ten  years  passed  before  another  descriptive  catalogue 
appeared.  This  was  the  well-known  compilation  of  Mr.  Frederick 
Wedmore,  originally  published  in  an  edition  of  one  hundred  and  forty 
numbered  copies,  of  which  the  first  fourteen  were  on  very  large  paper. 
This  edition  bears  the  following  title: 

whistler’s  etchings 

A STUDY  AND  A CATALOGUE 
BY 

FREDERICK  WEDMORE 


‘sans  la  liberte  de  blamer,  il  n’est  pas  d’e'loges  flatteurs.’ 

— BEAUMARCHAIS. 


LONDON 

A.  W.  THIBAUDEAU,  l8  GREEN  STREET 
ST.  martin’s  PLACE 
1886 


The  industry  of  Mr.  Wedmore  brought  within  this  record  two 
hundred  and  fourteen  plates. 

Of  this  catalogue  a “Second  Edition,  Revised  and  Enlarged,”  of 
one  hundred  and  thirty-five  numbered  copies,  was  published  in  Lon- 
don by  P.  & D.  Colnaghi  & Co.,  13  and  14  Pall  Mall  East,  in  1899.  The 
number  of  recorded  plates  rose  to  two  hundred  and  sixty-eight. 

In  each  of  these  editions  the  record  is  meagre  in  specifications  of 
states,  and  in  neither  is  it  exhaustive  as  regards  the  number  of  plates 
that  had  been  completed,  although  Whistler  had  virtually  ceased  to 
etch  some  years  before  the  second  edition  was  issued.  Nevertheless, 
Mr.  Wedmore  remains  entitled  to  the  credit  of  great  zeal  and  energy 
in  gathering  material  for  his  work  on  both  sides  of  the  Atlantic,  and 
his  catalogue,  with  its  supplement,  has  continued  to  be,  in  respect  to 
number  and  classification  of  plates,  the  generally  accepted  authority 
on  Whistler’s  etched  work. 


lviii 


PRESENT  COMPILATION 


The  supplement  referred  to  was  compiled  by  Mr.  Edward  G. 
Kennedy,  of  New  York,  and  was  printed  in  an  edition  of  one  hundred 
and  thirty-five  copies,  in  1902.  It  bears  the  title: 

CATALOGUE 

OF 

ETCHINGS  BY  J.  McN.  WHISTLER 

COMPILED  BY 
AN  AMATEUR 

SUPPLEMENTARY  TO  THAT  COMPILED  BY 
F.  WEDMORE 


NEW  YORK 

H.  WUNDERLICH  & CO. 
220  FIFTH  AVENUE 

1902 


This  brought  the  number  of  recorded  plates  up  to  three  hundred 
and  sixty-seven,  not  counting  the  five  plates  which  had  also  been  de- 
scribed by  Wedmore,  but  under  different  titles.  In  general  form  and 
in  scope  of  description  the  supplement  resembles  the  catalogue  which 
it  carried  forward.  Neither  catalogue  attempted  to  record  cancelled 
plates  from  which  no  original  impressions  are  known  to  exist.  But, 
apart  from  these,  there  were,  as  stated  in  the  prefatory  note  to  the 
supplement,  a number  of  known  plates  which  remained  to  be  recorded 
and  described. 


The  publication  by  The  Caxton  Club  of  a Catalogue  of  Whistler’s  present 
Etchings  and  Dry-points  was  at  first  proposed  in  connection  with  the  compilation 
exhibition  arranged  by  the  club  in  1900.  In  deference  to  Mr.  Whist- 
ler’s wishes,  the  original  plan  of  illustrating  the  catalogue  by  repro- 

lix 


INTRODUCTION 


ductions  of  the  prints,  in  the  form  of  small  photogravures  of  uniform 
size,  was  abandoned.  The  publication  of  a full  descriptive  catalogue, 
however,  subsequently  received  Mr.  Whistler’s  complete  approval.  Its 
preparation  by  the  present  compiler  was  equally  approved  by  Mr. 
Whistler.  The  compilation  was  readily  undertaken,  at  the  request 
of  the  club,  but  without  an  adequate  appreciation  of  the  research  and 
labor  and  time  involved  in  the  undertaking. 

The  aim  has  been  to  include  descriptions  of  all  plates  known  to 
have  been  the  work  of  Whistler,  and  of  all  ascertainable  states  of  these 
plates.  Accordingly,  the  cancelled  plates  are  described  from  which  no 
impressions  taken  before  the  plates  were  cancelled  are  now  thought  to 
exist.  These  plates  form  an  integral  part  of  the  record,  quite  as  prop- 
erly as  plates  which  were  destroyed  after  only  one  or  two  impressions 
had  been  taken  which  survive.  It  is  possible,  moreover,  that  there 
exist  impressions  taken  from  some  of  these  cancelled  plates  in  their 
original  condition.  It  is  known  that,  with  regard  to  one  of  such  plates, 
Mr.  Whistler,  some  ten  years  before  his  death,  supposed  this  to  be  the 
case. 

While  it  cannot  with  absolute  certainty  be  said  that  every  etching 
and  dry-point  ever  made  by  Whistler  is  now  described,  it  is  believed 
that  this  catalogue  includes  every  plate  from  which  impressions  were 
taken  in  his  lifetime.  It  is  too  much  to  expect  that  undescribed  states 
of  some  of  the  plates  will  not  later  become  known  to  collectors.  It 
would  seem  as  if  the  artist  made  changes  in  some  of  the  plates  after 
almost  every  printing,  and  certain  of  these  changes  may  have  escaped 
the  diligence  of  the  compiler.  More  than  two  hundred  years  after  Rem- 
brandt’s death,  undescribed  states  of  his  plates  are  still  discovered; 
yet  the  identification  of  states  must  have  been  easier  in  the  case  of 
Rembrandt  than  it  is  in  the  case  of  Whistler.  Indeed,  had  this  com- 
pilation been  published  before  Whistler’s  death,  it  would  doubtless 
have  been  far  less  complete.  Following  his  death,  the  largest  and 
best-known  private  collections  in  England  have  been  broken  up,  and 
these  as  well  as  small  collections  from  every  side  have,  in  addition  to 
the  two  most  comprehensive  collections  known,  become  available  for 
description. 


lx 


PRESENT  COMPILATION 


So  far  as  possible  from  the  evidence,  the  plates  have  been  catalogued 
in  chronological  order.  Certainty  in  this  regard  is  in  some  instances 
out  of  the  question,  and  even  where  periods  of  production  are  known, 
the  exact  sequence  of  the  plates  cannot  always  be  ascertained.  The 
testimony  of  inscribed  dates,  which  is  present  upon  so  many  of  the 
earlier  plates,  shows  numerous  gaps  and  after  a while  fails  altogether. 
Extrinsic  facts  have,  therefore,  been  diligently  sought  and  the  internal 
evidences  carefully  studied. 

Only  to  a limited  extent  has  the  arrangement  of  earlier  catalogues 
been  followed.  The  inclusion  of  plates  not  described  in  those  cata- 
logues has  inevitably  disarranged  the  numbering,  and  the  fact  that 
in  different  parts  of  those  catalogues  there  are  descriptions  of  plates  of 
avowedly  the  same  period,  has  relieved  the  compiler  of  any  necessity 
of  trying  to  adhere  to  any  earlier  order.  There  will,  of  course,  be 
some  disagreement  with  the  conclusions  now  reached  with  regard  to 
chronological  sequence;  but  from  facts  often  clear,  sometimes  vague 
and  occasionally  conflicting,  an  order  has  been  evolved  which  is  be- 
lieved to  be  reasonably  correct. 

With  respect  to  both  dates  and  titles,  much  aid  has  been  derived 
from  Whistler’s  own  memoranda,  especially  those  upon  prints  in  the 
Avery  Collection — memoranda  sought  by  Mr.  Avery  with  painstaking 
zeal,  but  extending,  unfortunately,  scarcely  beyond  the  first  half  of 
Whistler’s  etched  work.  While  titles  and  states  are  frequently  noted 
by  Whistler  upon  impressions  of  later  undated  etchings,  the  dates  of 
production  are  almost  never  supplied  by  the  notes. 

In  determining  titles,  where  there  is  any  doubt,  the  effort  has  been 
made  to  conform  to  the  designations  chosen  by  the  artist.  His  wishes 
are  not  always  clear  in  this  regard,  but  it  should  seem  that  they  ought 
to  be  followed  whenever  they  can  be  definitely  ascertained.  The  adop- 
tion of  this  rule  involves  departures  from  some  of  the  titles  given  in 
prior  catalogues.  Where  it  is  not  apparent  why  titles  known  to  have 
been  applied  by  the  artist  have  been  changed,  it  has  been  thought 
best  to  revert  to  those  earlier  titles.  In  some  other  instances  titles 
have  been  discarded  which,  in  the  light  of  research,  have  seemed  to  be 
clearly  inaccurate.  Changes  have  not  been  lightly  made,  for  the  prob- 

lxi 


INTRODUCTION 


able  inconvenience  resulting  from  differences  in  titles  has  been  foreseen. 
But  it  is  hoped  that,  by  including  the  numbers  attached  to  the  prints 
in  Mr.  Wedmore’s  catalogue  and  its  supplement,  and  noting  specifi- 
cally the  discarded  titles,  serious  confusion  will  have  been  avoided. 

Virtually  all  the  prints  catalogued  have  been  remeasured,  with  re- 
sulting divergences  in  many  cases  from  the  figures  given  in  the  earlier 
catalogues.  In  some  instances  the  divergence  has  been  found  to  be  so 
slight  as  to  be  readily  accounted  for  by  a possible  difference  in  quality 
of  paper  or  pressure  in  printing.  In  such  instances  the  measurements 
previously  recorded  have  been  retained.  It  is  only  where  the  diver- 
gence has  seemed  material  that  a new  measurement  has  been  substitut- 
ed. And  although  great  care  has  been  taken  in  making  the  measure- 
ments, infallibility  with  respect  to  their  correctness  is  not  claimed. 

The  method  of  description  adopted  varies  in  some  particulars  from 
methods  which  have  customarily  been  employed  and,  therefore,  it 
should  seem,  needs  to  be  explained. 

The  plates  are  designated  as  etchings  or  dry-points  according  to 
the  prevailing  manner  of  execution,  although  there  is  often  much  ad- 
ditional work  in  dry-point  to  be  found  on  the  plates  which  are  dis- 
tinguished as  etchings.  But  where  the  subject  is  essentially  expressed 
at  one  stage  of  the  plate  through  one  medium  and  at  a later  stage 
through  the  other,  both  designations  are  applied. 

No  distinction  is  made  between  what  might  in  some  cases  be  termed 
“ trial  proofs  ” and  what  are  commonly  referred  to  as  “ states.”  1 1 must 
be  evident  that  only  the  etcher  himself  can  certainly  establish  distinc- 
tions of  this  character.  Not  always  by  formal  publication  even  is  the 
line  of  separation  surely  drawn.  When  the  etcher  has  died  without 
recording,  save  in  a few  instances,  what  phases  of  his  plates  may  be 
regarded  as  within  either  category,  it  should  seem  that  no  one  has 
authority  to  make  the  classification.  While  it  is  true  that  there  are 
impressions  extant,  taken  from  plates  by  Whistler  while  the  work  was 
evidently  in  progress,  some  of  which  have  been  designated  by  him  as 
trial  proofs,  yet  the  number  of  such  impressions  is  so  small  that  it  has 
not  been  thought  advisable  to  treat  them  as  exceptions  in  the  general 
plan.  For  while  impressions  from  a plate  at  a particular  stage  may 

lxii 


PRESENT  COMPILATION 


or  may  not  be  trial  proofs,  it  is  undeniable  that,  from  the  beginning  to 
the  end  of  a plate,  every  stage  which  has  yielded  an  impression  may 
properly  and  technically  be  defined  as  a “state.”  Moreover,  in  his 
later  work  Whistler  never  labelled  the  first  impressions  as  trial  proofs, 
but  invariably,  when  marking  distinctions,  referred  to  states  and  proofs 
by  numbers. 

The  endeavor  has  been  made  to  frame  the  general  description  of  each 
etching  and  dry-point  so  that  it  will  hold  true  of  every  state.  An  oc- 
casional result  is  that  the  original  description  is  necessarily  very  brief, 
the  account  of  the  print  as  commonly  known  appearing  in  the  later 
description  of  a particular  state.  Where  practicable,  those  features 
which  become  the  subject  of  change  are  embraced  within  the  general 
description,  so  that  the  changes  may  be  noted  by  brief  references  to 
such  features.  For  the  main  purpose  has  been — not  always  success- 
fully achieved — to  describe  each  state  by  the  distinguishing  features 
which  it  possesses  instead  of  those  which  it  lacks;  to  identify  it,  where 
changes  have  been  made,  by  specification  of  those  particular  changes 
rather  than  by  reference — as  is  often  the  case  in  print-catalogues — to 
changes  that  will  appear  in  a later  state. 

There  will  not  be  found  throughout  the  catalogue  any  attempt  at  a 
critical  estimate  of  any  print  recorded.  In  this  regard  Mr.  Whistler’s 
own  view,  as  stated  to  the  compiler:  “It  is  the  business  of  the  cata- 
loguer to  describe  and  not  to  comment,”  has  been  readily  accepted. 
Indeed,  the  value  of  a catalogue  should  lie  in  the  fullness  and  accuracy 
of  its  facts  and  not  in  the  personal  opinions  of  the  compiler,  which,  if 
thought  worthy  of  expression,  should  be  expressed  elsewhere,  and  not 
forced  on  print-lovers  seeking  information,  who  are  apt  to  have  opinions 
of  their  own. 

The  remark,  however,  may  be  made  at  this  point,  that  the  artis- 
tic value  of  Whistler’s  etchings  and  dry-points  is  not  to  be  estimated 
surely  according  to  priority  of  states.  While  it  is  true  with  regard  to 
a considerable  number  of  the  prints — especially,  but  not  always,  dry- 
points— that  impressions  of  the  first  state  are  the  finest,  it  is  equally 
true  with  regard  to  as  many  or  more,  that  later  states,  sometimes  the 
very  latest,  show  the  fullest  development  of  the  artist’s  purpose.  Yet 


lxiii 


INTRODUCTION 


it  is  the  development  of  that  purpose,  expressed  in  beautiful  impres- 
sions, which  should  be  sought  and  prized,  both  for  the  joy  of  the  collec- 
tor and  in  justice  to  the  etcher.  For  Whistler  was  not  only  a master 
etcher  but  a master  printer,  and,  from  the  beginning  of  his  career  to 
the  end,  the  finest  impressions  from  his  plates  owed  their  surpassing 
charm  to  his  skill  at  the  press.  The  conclusion  must  not  be  reached 
that  impressions  of  his  own  printing  are  the  only  fine  ones,  for  Delatre, 
as  a printer,  was  almost  a magician,  and  some  notable  results  have 
been  achieved  by  Goulding.  Unfortunately  a number  of  the  plates  fell 
into  other  hands. 

With  quality  of  the  impression,  therefore,  as  the  first  criterion  of  a 
choice,  the  ultimate  test  in  the  selection  of  true  examples  of  Whistler’s 
etched  work  should  be  artistic  merit,  without  regard  to  rarity  either  of 
state  or  subject.  It  is  not  to  be  inferred  that  the  rarity  of  certain 
of  the  prints  is  necessarily  owing  to  an  inferiority,  for  the  contrary  is 
too  often  the  case.  In  truth,  there  are  not  very  many  of  Whistler’s 
etchings  that  one  would  willingly  fail  to  acquire.  Yet  the  complete 
destruction  of  proofs  taken  from  several  plates  which  appear  to  have 
been  speedily  cancelled,  evinces  Whistler’s  unsparing  criticism  of  his 
own  work,  and  it  may  well  be  that  rare  surviving  impressions  from 
other  cancelled  plates  would  also  have  been  condemned,  had  it  been 
within  his  power  to  suppress  them.  Once,  when  an  impression  from  a 
plate  “important  in  size,”  and  then  unknown  to  the  compiler,  was  dis- 
covered by  him  in  one  of  Mr.  Whistler’s  portfolios  in  Paris,  and  laid 
aside  for  purchase,  it  was  withdrawn  by  the  artist  with  the  remark: 
“That  one  is  not  altogether  to  my  liking  and  I don’t  think  it  is  good 
enough  for  your  collection,  and  I had  rather  you  wouldn’t  take  it.” 
Consistently,  in  a letter,  dated  August  i , 1 89 1 , to  the  Editor  of  the  “ Pall 
Mall  Gazette” — with  reference  to  a quotation  from  “L’Envoi,”  that 
“the  work  of  the  master  reeks  not  of  the  sweat  of  the  brow— suggests 
no  effort — and  is  finished  from  the  beginning” — he  had  written:  “All 
along  I have  carefully  destroyed  plates,  tom  up  proofs  and  burned 
canvases,  that  the  truth  of  the  quoted  word  shall  prevail,  and  that  the 
future  collector  shall  be  spared  the  mortification  of  cataloguing  his  pet 
mistakes.”  Such  is  the  consequent  rarity  of  impressions  from  certain 


lxiv 


ACKNOWLEDGMENTS 


plates,  that  any  attempt  at  a complete  collection  is  foredoomed  to 
failure.  No  such  collection  exists,  and  none  can  possibly  be  brought 
together;  therefore  one  bane  of  collecting  is,  in  this  special  field,  hap- 
pily removed. 

The  inference  should  not  be  drawn  from  what  has  hitherto  been 
said,  that  the  etchings  and  dry-points  of  Whistler  are  sought  after  only 
by  those  who  are  generally  classed  as  print-collectors.  The  note- 
worthy fact  is  that  it  is  rather  exceptional  for  a true  art-lover  not  to 
have  and  to  cherish  some  impressions  of  Whistler’s  etched  work. 
There  is,  therefore,  the  more  cause  for  regret  that  so  much  of  that 
work  which  is  specially  fine  is  now  virtually  unobtainable.  Enough, 
however,  of  what  is  equally  admirable  is  likely  to  continue  to  be  within 
reach  to  make  it  a reasonable  hope  of  all  who  really  care  for  such 
things,  to  become  possessed  of  characteristic  and  worthy  examples. 


Where  an  impression  of  exceptional  rarity,  whether  from  a particu- 
lar plate  or  of  some  particular  state,  is  to  be  found  in  a well-known  col- 
lection, reference  to  such  fact,  if  within  the  knowledge  of  the  compiler, 
is  appended  to  the  description  as  it  appears  in  the  catalogue. 

It  does  not  follow  that  there  are  not  impressions  of  the  like  rarity 
in  collections  which  are  not  so  well  known,  and  it  is  quite  true  that  in 
some  comparatively  small  private  collections  there  are  rare  impressions 
from  certain  plates  and  of  certain  states,  which  are  not  to  be  found  in 
the  collections  named.  But,  for  obvious  reasons,  it  is  deemed  inad- 
visable to  attempt  a record  of  these  impressions. 

While  the  descriptions  of  subjects  in  the  following  catalogue  have, 
for  the  most  part,  and  the  descriptions  of  states  to  a considerable  ex- 
tent, been  based  upon  impressions  in  the  compiler’s  collection,  further 
knowledge  in  large  measure  of  both  subjects  and  states  has  been  de- 
rived from  study  of  other  collections  and  scrutiny  of  impressions  pass- 
ing through  the  hands  of  dealers,  and  from  other  opportunities  of  com- 
parison. 

Ixv 


REFERENCES 


ACKNOWLEDG- 

MENTS 


INTRODUCTION 


Much,  in  both  respects,  has  been  learned  from  the  prints  in  the 
Freer  Collection,  examined  through  the  permission  granted  at  the  out- 
set to  The  Caxton  Club  by  Mr.  Freer.  To  the  Trustees  of  the  New  York 
Public  Library  and  to  Mr.  Frank  Weitenkampf,  Curator  of  its  Print 
Department,  acknowledgment  is  made  for  facilities,  freely  extended, 
for  the  examination  of  the  Avery  Collection.  To  The  Grolier  Club  of 
the  City  of  New  York  the  compiler  is  indebted  for  invaluable  aid  in  the 
classification  of  states,  through  access  to  the  photographic  reproduc- 
tions, in  full  size,  of  different  states  of  etchings  and  dry-points  by 
Whistler,  prepared  for  future  publication  by  that  club.  From  Mr. 
Edward  G.  Kennedy,  of  New  York,  much  special  information  has 
been  received  concerning  Whistler’s  etched  work,  besides  great  assist- 
ance in  the  identification  of  states  and  in  the  final  verifications.  From 
Mr.  and  Mrs.  Joseph  Pennell,  of  London,  important  facts  have  been 
obtained  regarding  the  dates  of  some  of  the  etchings  and  certain  in- 
cidents in  Whistler’s  career,  both  directly  and  through  their  intimate 
biography  of  Whistler,  recently  published. 

The  compiler  is  also  under  obligation  to  Mr.  Clarence  Buckingham, 
Mr.  Bryan  Lathrop  and  Mr.  John  H.  Wrenn,  of  Chicago;  to  Mr.  Henry 
Harper  Benedict,  Mr.  Harris  B.  Dick,  Mr.  Watson  B.  Dickerman, 
Mrs.  Henry  O.  Havemeyer,  Mr.  Albert  W.  Scholle  and  Mr.  John  W. 
Simpson,  of  New  York;  to  Mr.  Frank  L.  Babbott,  of  Brooklyn;  to 
Mr.  Francis  Bullard  and  Mr.  Fisher  Howe,  of  Boston;  to  Mrs.  Walter 
Robert  Parker,  of  Detroit;  to  Mr.  Judson  S.  Dutcher,  of  Watertown, 
Connecticut;  to  Mr.  Arthur  Jeffrey  Parsons,  of  Washington;  to  Mr. 
John  Caldwell,  of  Pittsburg,  and  to  Mr.  George  W.  Vanderbilt,  of  Bilt- 
more,  for  information  regarding  prints  in  their  collections,  and  to  Mr. 
H.  S.  Theobald,  of  London,  for  a complete  description  of  the  admirable 
collection  which  was  once  in  his  possession.  Indeed,  on  the  part  of 
collectors  generally,  all  necessary  co-operation  has  been  accorded. 

Thanks  are  extended  to  Messrs.  Frederick  Keppel  & Company, 
Messrs.  M.  Knoedler  & Company  and  Messrs.  H.  Wunderlich  & Com- 
pany, of  New  York,  Mr.  Albert  Roullier,  of  Chicago,  and  Messrs.  Er- 
nest Brown  & Phillips,  Messrs.  Obach  & Company  and  The  Fine  Art 
Society,  of  London,  for  useful  information,  readily  given,  regarding 


lxvi 


acknowledgments 


rare  impressions  of  etchings  and  dry-points  passing  through  their 

hands. 

Acknowledgment  is  due  to  the  officials  of  the  United  States  Coast 
and  Geodetic  Survey  for  their  court esy  in  placing  at  the  disposal  of 
the  compiler  full  particulars  regarding  the  plates  etched  bv  Whistler 
while  in  the  Government's  sendee. 

It  is  a pleasure  to  express  the  compiler's  appreciation  of  the  per- 
mission given  by  Mrs.  Ironside,  of  New  London.  Connecticut,  to  The 
Caxton  Club  to  reproduce,  as  a frontispiece  to  this  work,  an  unpub- 
lished photograph  of  Whistler,  taken  about  1865. 

The  compiler  is  under  special  obligation,  gratefully  recorded,  to  Mr. 
Frederick  W.  Gookin,  of  Chicago,  for  his  constant  interest  in  the  work 
and  \\dlling  help  in  reading  the  proofs,  and  to  Mr.  Walter  Gilliss.  of 
New  York,  for  his  untiring  zeal  and  patience  in  connection  with  the 
printing  of  this  book. 

New  York.  December.  1908. 


lxvii 


ABBREVIATIONS 


W.  refers  to  Wedmore’s  Catalogue. 

Sup.  refers  to  the  Supplement  to  Wedmore’s  Catalogue. 


CATALOGUE 


1 SKETCHES  ON  COAST  SURVEY  PLATE.  In  the  upper  part 
of  the  plate,  on  which  are  also  etchings  by  Whistler  of  coast-lines 
and  abrupt  rocky  shores,  are  a number  of  etched  sketches:  At 
the  right,  the  head  of  a man  wearing  a pointed  hood;  at  the  left, 
the  head  of  a man  wearing  a soldier’s  cap;  next,  in  an  oval  with 
a shaded  background,  an  old  woman  wearing  a white  cap  and 
facing  a child;  further  at  the  left,  the  half-length  figure  of  a man 
smoking  a long  pipe,  the  head  of  a young  man  wearing  a peaked 
hat,  and  a head  wearing  a hood.  The  plate  is  unsigned. 
Etching.  Height  of  plate,  5%  inches;  width  of  plate,  io?4 
inches. 

Done  at  Washington,  in  the  Engraving  Division  of  the  United 
States  Coast  Survey,  between  November  7,  1854,  and  February 
12,  1855. 

Freer  and  Mansfield  Collections. 

2 AU  SIX1EME.  Interior  of  a studio.  In  front,  with  arms  bared 
to  the  elbow,  a young  woman  stands  by  a small  cylindrical  stove 
on  which  is  a pot,  the  contents  of  which  she  is  stirring  with  her 
left  hand,  while  in  her  right  hand,  slightly  raised,  she  holds  a cigar- 
ette. At  the  right  a man  with  a pipe  in  his  mouth  sits  before  an 
easel  on  which  is  a picture.  On  the  wall  at  the  back  are  sketches, 
a palette,  a hat,  and  a shelf  holding  numerous  articles.  In  the 
right  lower  corner:  “Whistler  inv”;  at  the  bottom  of  the  plate, 
in  the  center:  “Au  Sixieme.” 

Etching.  Height,  4X  inches;  width,  3 inches. 

Freer  Collection.  On  the  impression  in  this  collection  Sir  Sey- 


3 


whistler’s  etchings  and  dry-points 

mour  Haden,  in  whose  collection  it  formerly  was,  wrote:  “Prob- 
ably the  first  of  Whistler’s  etchings.” 

Doubtless  done  in  Paris,  and  probably  as  early  as  1857. 

3 MAN  HOLDING  A GLASS.  (W.  3.)  A man  of  heavy  build 
sits  facing  toward  the  left,  with  a long  pipe  in  his  mouth  and  hold- 
ing a tall  glass  in  his  uplifted  right  hand.  His  left  arm  hangs 
by  his  side,  the  hand  touching  a broad-brimmed  hat.  Behind 
him,  at  the  right,  stands  a woman  bending  forward,  facing  front 
and  carrying  a tray.  There  is  some  shading  in  the  background. 
Near  the  right  lower  corner:  “ J.  W.” 

Etching.  Height,  3 X inches;  width,  2%,  inches. 

First  State:  The  shading  in  the  background  at  the  left  is  in 
horizontal  lines. 

Mansfield  Collection. 

Second  State:  Vertical  lines  are  added  in  the  shading  at  the 
left. 

Avery  Collection. 

Catalogued  by  Wedmore  as  “The  Dutchman  Holding  the  Glass.” 

4 YOUTH  WITH  GERMAN  CAP.  A youth  wearing  a German 
cap  and  wooden  shoes  stands,  with  face  turned  away,  near  the 
entrance  to  a building.  The  light  falls  upon  his  left  side  and 
left  foot.  In  the  left  upper  corner:  “J.  W.” 

Etching.  Height,  3 yi  inches;  width,  1^  inches. 

Freer  Collection.  This  impression  is  perhaps  unique. 

5 SEYMOUR,  STANDING.  (Sup.  362.)  A boy  with  long  hair, 
and  wearing  a jacket,  kilt  and  plaid  stockings,  stands  facing  to 
the  right,  his  hands  in  the  pockets  of  his  jacket.  There  is  a sug- 
gestion of  a shadow  at  the  left,  and  there  are  faint  lines  elsewhere 
in  the  background.  Below,  at  the  right  of  the  boy’s  left  foot: 
“J.  W.” 


4 


whistler’s  etchings  and  dry-points 

Etching.  Height,  3^  inches;  width,  2^  inches. 

Freer  Collection. 

A portrait  of  a son  of  Francis  Seymour  Haden. 

6 SEYMOUR,  SEATED.  (W.  22.)  A boy  with  long  hair,  and 
wearing  a jacket,  kilt  and  plaid  stockings — the  subject  of  the 
etching  last  described — sits  looking  to  the  left,  with  feet  spread 
apart  and  his  hands  on  his  knees.  There  is  shading  in  the  back- 
ground. Near  the  left  edge  of  the  plate,  above  the  boy’s  right 
foot,  much  obscured:  “J.  Whistler.” 

Etching.  Height,  5 inches;  width,  3^  inches. 

First  State:  The  shading  is  chiefly  in  curving  lines,  and  is 
heavier  at  the  left  of  the  figure  than  at  the  right,  obscuring 
the  signature. 

Avery,  Freer,  and  Mansfield  Collections.  On  the  impression  in 
the  Avery  Collection  Whistler  wrote:  “Seymour  Haden,  Junr.” 

Second  State:  Horizontal  lines  are  added  in  the  shading  at 
the  right,  and  a few  vertical  lines  are  added  at  the  left. 

Catalogued  by  Wedmore  as  “A  Little  Boy.” 

7 LITTLE  ARTHUR.  (W.  13.)  A young  boy  with  long  hair 
falling  about  his  face,  and  wearing  a short  dress  and  a jacket  with 
a lace  collar,  sits  facing  front,  his  hands  in  his  lap  and  his  knees 
apart.  There  is  shading  in  the  background. 

Etching. 

A portrait  of  a son  of  Francis  Seymour  Haden. 

First  State  : The  figure  is  drawn  at  full  length.  The  feet,  wear- 
ing slippers,  are  close  together  on  a fur  rug.  There  is  a strong 
shadow  in  the  background  at  the  right.  The  space  between 
the  rug  and  the  bottom  of  the  plate  is  left  blank.  On  the  rug, 
at  the  left:  “J.  W.” 

Height,  3 X inches;  width,  2 yi  inches. 

Avery  Collection. 


5 


whistler’s  etchings  and  dry-points 

Second  State:  Near  the  right  lower  corner,  in  the  space  pre- 
viously left  blank:  “Whistler.” 

British  Museum  Collection. 

Third  State:  “Imp.  Delatre,  Rue  St.  Jacques,  171,”  added 
at  the  left,  in  the  space  along  the  bottom  of  the  plate. 

Avery,  Freer,  and  Mansfield  Collections.  On  the  impression  of 
this  state  in  the  Avery  Collection  Whistler  wrote:  “Arthur 
Haden.” 

Fourth  State:  The  plate  has  been  cut  down,  below  the  boy’s 
knees,  and  narrowed  on  each  side,  and  is  without  inscriptions. 
Height,  2%,  inches;  width,  1 % inches. 

Fifth  State:  There  is  more  work  on  the  hair,  hands  and  legs. 
At  the  left  of  the  boy’s  right  forearm:  “Whistler.” 

In  this  state,  one  of  the  “Twelve  Etchings  from  Nature.” 
Published  as  “Little  Arthur.” 

8 ANNIE.  tW.  15.)  A young  girl  with  long  flowing  hair  stands 
turned  toward  the  left,  but  facing  nearly  front,  her  left  arm  by  her 
side,  the  hand  holding  up  the  skirt  of  her  short  frock. 

Etching.  Height,  4 % inches;  width,  3^  inches. 

A portrait  of  the  daughter  of  Francis  Seymour  Haden. 

First  State:  The  figure  is  drawn  at  full  length.  The  face  is 
round  and  the  hair  does  not  cover  the  ears.  There  is  slight 
shading  at  the  left,  below  the  skirt.  In  the  upper  part  of  the 
shading:  “J.  W.” 

Avery  Collection.  On  the  impression  of  this  state  in  this 
collection  Whistler  wrote:  “ 1st  State.” 

Second  State:  The  face  is  lengthened  and  the  hair  is  more 
abundant  and  covers  the  ears.  The  feet  and  the  legs  have  been 
removed,  except  that  the  left  leg  is  merely  suggested  just  below 
the  skirt.  The  shading  and  “J.  W.”  have  been  removed. 
A few  lines  appear  in  the  background,  at  the  left  of  the  skirt. 
Avery  Collection. 

6 


1 


whistler’s  etchings  and  dry-points 

Third  State:  Numerous  horizontal  lines  are  added  at  the  left 
of  the  skirt,  and  a few  lines  in  the  right  lower  corner.  Near 
the  right  lower  corner:  “Whistler.” 

Freer  Collection. 

Fourth  State:  The  signature  at  the  right  and  the  lines  below 
the  skirt  have  been  removed.  Curving  lines  are  added  at  the 
left  of  the  skirt.  Added  below  the  figure,  at  the  left:  “Whist- 
ler”; at  the  right:  “ Imp.  Delatre,  Rue  St.  Jacques,  171.” 

In  this  state,  one  of  the  “Twelve  Etchings  from  Nature.” 
Published  as  “Annie.” 

Fifth  State:  Outlines  of  the  left  leg  for  some  distance  below 
the  skirt,  with  a single  line  to  indicate  the  right  leg,  are  added, 
but  not  by  Whistler.  In  the  center,  near  the  bottom  of  the 
plate:  “Annie.” 

On  the  impression  of  this  state  in  the  Avery  Collection  Whist- 
ler wrote:  “ Legs  not  by  me.  The  impertinent  work  of  another.” 

9 EARLY  PORTRAIT  OF  WHISTLER.  (W.  1.)  A quarter- 
length  portrait  of  the  artist  as  a young  man  with  thick  wavy 
hair,  facing  front  and  bending  forward,  his  left  arm  resting  on  a 
table,  the  hand  raised  and  holding  a cigarette.  There  is  shading 
in  the  background.  At  the  right,  below  the  left  arm:  “J.  W.” 
Etching.  Height,  4^  inches;  width,  3 inches. 

First  State:  There  is  open  shading  in  the  background. 
Avery  and  Freer  Collections.  On  the  impression  in  the  Avery 
Collection  Whistler  wrote:  “Early  portrait  of  Self.” 

Second  State:  There  is  closer  shading  in  the  background. 

10  ANNIE  HADEN  WITH  BOOKS.  (W.  2.)  A young  girl  with 
round  face  and  long  flowing  hair  looks  out  over  a pile  of  books 
on  which  she  leans.  Her  hands  are  joined,  and  rest  on  the  top- 
most book,  which  is  open.  On  the  backs  of  the  books  below  are: 
“Swedenborg,”  “Machiavelli,”  “Belphegor  XII,”  “Directorium 


7 


whistler’s  etchings  and  dry-points 

Inquisitorium,”  “Aoyos.”  There  is  shading  in  the  background. 
At  the  right,  on  the  open  book:  “J.  W.”  reversed. 

Etching.  Height,  4 inches;  width,  2$4  inches. 

Avery  Collection.  On  the  impression  in  this  collection  Whistler 
wrote:  “Annie  Haden.  Very  early.  Probably  unique.” 
Catalogued  by  Wedmore  as  “Annie  Haden.” 

1 1 LA  RETAMEUSE.  (W.  5.)  A half-length  portrait  of  an  elderly 
Frenchwoman  wearing  a black  cap.  She  sits  facing  front,  her 
hands  folded  in  her  lap,  a shuttle  thrust  in  her  waistband.  Her 
shadow  is  strongly  indicated  in  the  background  at  the  right,  and 
there  is  shading  in  the  background  at  the  left. 

Etching.  Height,  4^  inches;  width,  3 X inches. 

First  State:  The  plate  is  unsigned  and  without  inscription. 
Freer  Collection. 

Second  State:  Lines  have  been  added  and  partly  erased  on 
the  upper  part  of  the  plate,  at  the  left.  Near  the  bottom  of  the 
plate,  at  the  right:  “Whistler”;  along  the  lower  edge  of  the 
plate,  at  the  left:  “Imp.  Delatre,  Rue  St.  Jacques,  171.” 

On  the  impression  of  this  state  in  the  Avery  Collection  Whist- 
ler wrote:  “La  Retameuse.” 

In  this  state,  one  of  the  “Twelve  Etchings  from  Nature.” 
Published  as  “La  Retameuse.” 

12  EN  PLE1N  SOLEIL.  (W.  6.)  A lady  wearing  a shawl  with 
stripes  across  it  is  seated  in  an  open  field,  holding  a parasol  above 
her  head.  Her  face,  partly  in  shadow,  is  turned  toward  the  front. 
In  the  grass,  at  the  left,  is  a round  box.  Near  the  bottom  of  the 
plate,  below  the  box:  “Whistler.” 

Etching.  Height,  4 inches;  width,  5 inches. 

First  State:  In  the  left  upper  corner:  “Whistler,”  written 
upside  down  and  in  reverse. 

Avery  Collection. 


8 


whistler’s  etchings  and  dry-points 

Second  State:  With  the  upper  signature  obscured  and  “ Imp. 
Delatre,  Rue  St.  Jacques,  171,”  added  at  the  right,  along  the 
lower  edge  of  the  plate. 

In  this  state,  one  of  the  “Twelve  Etchings  from  Nature.” 
Published  as  “En  plein  Soleil.” 


1 3 LA  MERE  GERARD.  (W.  9.)  An  elderly  Frenchwoman  wear- 
ing an  apron,  a cape,  and  a pointed  hood  stands  turned  somewhat 
to  the  right,  but  looking  toward  the  front.  In  her  left  hand  she 
holds  a large  shawl.  At  the  left,  near  the  bottom  of  the  skirt: 
“Whistler.” 

Etching.  Height,  4^  inches;  width,  3X  inches. 

An  oil  portrait  of  “La  Mere  Gerard”  is  said  to  have  been  the  first 
original  picture  painted  by  Whistler  in  Paris. 

First  State:  There  is  open  shading  on  the  cape,  dress  and 
shawl.  The  background  is  clear,  except  for  some  lines  toward 
the  bottom  of  the  plate,  at  the  right. 

Avery  and  Freer  Collections.  On  the  impression  in  the  Avery 
Collection  Whistler  wrote:  “La  Mere  Gerard” — “First  State.” 

Second  State:  The  dress  and  shawl  are  darkened  and  the  cape 
is  strongly  shaded.  There  is  considerable  shading  in  the  back- 
ground at  the  right  of  the  figure,  and  there  are  a few  lines  in 
the  background  at  the  left,  above  the  signature. 

British  Museum  Collection. 

Third  State:  There  is  heavy  shading,  forming  a shadow,  at  the 
right  of  the  figure,  and  horizontal  lines  are  added  in  the  back- 
ground at  the  left.  A few  diagonal  lines  cross  the  left  upper 
corner. 

Freer  Collection. 

Fourth  State:  With  “Imp.  Delatre,  Rue  St.  Jacques,  171,” 
added  along  the  bottom  of  the  plate. 

In  this  state,  one  of  the  “Twelve  Etchings  from  Nature.” 
Published  as  “La  Mere  Gerard.” 


9 


whistler’s  etchings  and  dry-points 


14  LA  MERE  GERARD,  STOOPING.  (W.  10.)  A quaint  elderly 
Frenchwoman  wearing  an  apron,  a cape,  and  a pointed  hood — 
the  woman  pictured  in  the  etching  last  described — is  walking 
toward  the  front,  slightly  stooping  and  with  head  bent  forward. 
In  her  right  hand  she  carries  a satchel.  Her  figure  casts  a shadow 
to  the  left.  The  plate  is  unsigned. 

Etching.  Height,  4 inches;  width,  2><  inches. 

Avery  Collection.  On  the  impression,  perhaps  unique,  in  this 
collection  Whistler  wrote:  “La  Mere  Gerard.” 


15  FUMETTE.  (W.  18.)  A young  woman  with  flowing  hair,  and 
wearing  a mantilla  with  lace  collar,  sits  facing  front,  bending  for- 
ward, with  hands  crossed  upon  her  raised  knees. 

Etching.  Height,  inches;  width,  qjT  inches. 

It  is  said  that  the  model  for  “ Fumette”  was  a little  milliner  of 
Qthe  Latin  Quarter,  named  Eloise. 

First  State:  There  is  but  little  shading  on  face  or  dress,  and 
the  collar  is  white.  The  background  is  clear,  and  there  is  no 
signature. 

Avery  Collection.  On  the  impression  in  this  collection  Whist- 
ler wrote:  “Fumette”  and  “ 1st  State.” 

Second  State:  The  hair  is  somewhat  darker.  Considerable 
shading  is  added  on  the  face  and  the  mantilla,  and  a pattern  is 
worked  on  the  collar.  Below,  at  the  right:  “Whistler.” 

Avery  Collection.  On  the  impression  in  this  collection  Whist- 
ler wrote:  “Fumette”  and  “2nd  State.” 

Third  State:  The  hair  is  now  much  darker.  There  is  some 
additional  shading  on  the  mantilla,  and  shading  is  added  in  the 
background  at  the  left. 

Fourth  State:  With  “Imp.  Delatre,  Rue  St.  Jacques,  171,” 
added  at  the  left,  along  the  lower  edge  of  the  plate. 

In  this  state,  one  of  the  “Twelve  Etchings  from  Nature.” 
Published  as  “Fumette.” 


10 


whistler’s  etchings  and  dry-points 

i 6 LIVERDUN.  (W.  4.)  A picturesque  group  of  farm-buildings 
is  in  strong  sunshine  at  the  left,  and  a long  low  building,  with  an 
arched  central  entrance,  is  in  shadow  at  the  right.  Women  are 
seated  in  front  of  the  building;  a woman  stands  in  the  entrance, 
and  another  approaches  from  the  background.  There  is  a cow 
in  the  foreground  at  the  right.  Against  a building  at  the  left  are 
detached  parts  of  a hay-rack,  and  beyond  is  an  empty  wagon. 
Etching.  Height,  4X  inches;  width,  6 inches. 

Liverdun  is  a town  in  eastern  France,  not  far  from  Nancy.  It 
was  visited  by  Whistler  on  his  journey  to  Alsace-Lorraine  in  1858. 

First  State:  Near  the  right  upper  corner:  “Whistler.” 

Avery,  Freer,  and  Mansfield  Collections.  On  the  impression 
in  the  Avery  Collection  Whistler  wrote:  “Liverdun.” 

l/  Second  State:  Added,  in  the  left  lower  corner:  “J.  Whistler,” 
and  at  the  right,  near  the  bottom  of  the  plate:  “ Imp.  Delatre, 
Rue  St.  Jacques,  171.” 

In  this  state,  one  of  the  “Twelve  Etchings  from  Nature.” 
Published  as  “Liverdun.” 


17  THE  UNSAFE  TENEMENT.  (W.  7.)  A dilapidated  farm- 
house with  its  outbuildings,  all  of  half-timbered  construction.  In 
front  a young  girl  stands  outside  a door  which  is  partly  opened, 
disclosing  the  face  of  another  girl.  Near  a kennel  at  the  left  lies 
a dog.  At  the  right  is  the  gable  end  of  another  building,  against 
which  hay-racks  are  placed  on  which  cloths  are  hung.  Near  the 
right  lower  corner:  “Whistler.” 

Etching.  Height,  6X  inches;  width,  8 J/%  inches. 

Mr.  Wedmore  says:  “The  scene  is  in  Alsace-Lorraine.” 

First  State:  In  front  of  an  abutting  shed  at  the  left  stands  a 
woman  with  a broom.  There  are  slight  indications  of  clouds. 
Avery,  Freer,  and  Mansfield  Collections.  On  the  impression 
in  the  Avery  Collection  Whistler  wrote:  “ L’habitation  danger- 
euse.” 


1 1 


whistler’s  etchings  and  dry-points 


Second  State:  The  woman  has  been  removed.  Where  she 
stood  is  an  open  doorway,  near  which,  placed  against  the  wall, 
is  a pitchfork.  Strong  horizontal  lines  are  added  throughout 
the  sky.  “Imp.  Delatre,  Rue  St.  Jacques,  171,”  added  along 
the  lower  edge  of  the  plate,  at  the  left. 

Benedict,  Freer,  and  Mansfield  Collections. 

Third  State:  All  lines  except  a few  faint  scratches  have  been 
removed  from  the  sky. 

In  this  state,  one  of  the  “Twelve  Etchings  from  Nature.” 
Entitled  in  different  announcements  of  publication:  “The  Old 
Farm”  and  “The  Unsafe  Tenement.” 

Fourth  State:  The  name  and  address  of- the  printer  have 
been  removed. 

18  THE  DOG  ON  THE  KENNEL.  (W.  8.)  On  the  top  of  a rude 
kennel  a dog  is  lying  on  his  right  side,  with  his  legs  outstretched 
toward  the  front.  Near  the  right  upper  corner:  “Whistler.” 
Etching.  Height,  2^  inches;  width,  3%  inches. 

An  etching  of  the  dog  and  kennel  which  appear  in  “The  Unsafe 
Tenement,”  done  while  that  etching  was  in  progress. 

19  STREET  AT  SAVERNE.  (W.  11.)  A night  scene  in  a narrow 
street,  which  seems  to  end  at  a barrier.  Along  the  left  side  is  a 
row  of  adjoining  irregular  buildings  in  brilliant  moonlight  crossed 
by  strong  shadows.  Light  radiates  from  a lantern  that  projects 
from  the  wall  of  a high  building  at  the  right.  A single  figure 
stands  near  a doorway  half  way  down  the  street.  The  sky  is 
strongly  shaded.  Near  the  bottom,  at  the  left:  “Whistler.” 
Etching.  Height,  8)4  inches;  width,  6 % inches. 

Saverne  is  a town  in  Alsace,  now  Zabern. 

First  State:  The  sky  is  shaded  for  the  most  part  by  lines 
nearly  horizontal  and  about  an  eighth  of  an  inch  apart. 

Freer  Collection. 


12 


whistler’s  etchings  and  dry-points 

Second  State:  Numerous  diagonal  lines  are  added  throughout 
the  sky. 

Avery  and  Mansfield  Collections.  On  the  impression  in  the 
Avery  Collection  Whistler  wrote:  “Saverne.” 

Third  State:  In  place  of  the  lines  previously  in  the  sky  there 
are  now  numerous  close  horizontal  lines.  The  barrier  at  the 
end  of  the  street  has  been  partly  removed.  “Imp.  Delatre, 
Rue  St.  Jacques,”  added  at  the  right,  along  the  lower  edge  of 
the  plate. 

Buckingham  Collection. 

Fourth  State:  Through  additional  work  in  dry-point  the  bar- 
rier is  strongly  defined  and  the  upper  part  of  the  lantern  is 
slightly  shaded. 

In  this  state,  one  of  the  “Twelve  Etchings  from  Nature.” 
Published  as  “Street  at  Saverne.” 

Fifth  State:  With  name  and  address  of  the  printer  removed. 


20  GRETCHEN.  (W.  12.)  A girl  turning  toward  the  right,  but 
facing  nearly  front,  sits  by  a projecting  work-table  near  a window 
in  which  her  reflection  appears.  She  wears  an  apron  and  a frock 
with  large  skirt  and  with  flowing  sleeves.  Her  left  foot  rests  upon 
a stool;  her  left  hand  is  raised  to  her  face,  the  elbow  resting  on  a 
ledge;  in  her  right  hand  she  holds  a frame,  apparently  of  needle- 
work. On  the  table  are  a key  and  knitting-work  with  needles 
and  a ball  of  yarn.  In  the  background  is  a large  jar,  and  on  a 
ledge  at  the  left  are  two  beer-mugs.  There  is  shading  on  the  win- 
dow and  stronger  shading  in  the  lower  parts  of  the  background. 
In  the  left  upper  corner:  “Whistler.” 

Etching.  Height,  8^  inches;  width,  inches. 

Avery,  Freer,  and  Mansfield  Collections. 

Upon  the  impression  in  the  Avery  Collection  Whistler  wrote: 
“‘Gretchen,’  Heidelburg.” 

Etched  on  the  journey  into  Germany  in  1858. 


13 


whistler’s  etchings  and  dry-points 


21  LA  VIEILLE  AUX  LOQUES.  (W.  14.)  Within  the  open  door- 
way of  a shop  sits  an  old  woman,  facing  to  the  right,  wearing  a 
dark  cape  and  white  cap,  her  hands  on  her  knees  and  her  head 
bent  forward  as  in  sleep.  On  the  door-sill,  by  her  side,  is  an  empty 
sack,  and  within  the  shop,  on  a shelf  at  the  left,  are  a jar,  a basin, 
a bowl,  and  a coffee-pot.  On  other  shelves  are  various  odds  and 
ends.  On  the  outer  wall,  at  the  right,  toward  the  bottom  of  the 
plate:  “Whistler.” 

Etching.  Height,  8%  inches;  width,  5^  inches. 

First  State:  The  door-sill  is  shaded  for  its  whole  length  by 
vertical  lines,  crossed  by  a few  horizontal  lines. 

Avery  Collection. 

Second  State:  Horizontal  lines  are  added  in  the  shading  of 
the  door-sill.  Added  at  the  right,  along  the  lower  edge  of  the 
plate:  “Imp.  Delatre,  Rue  St.  Jacques,  171.” 

In  this  state,  one  of  the  “Twelve  Etchings  from  Nature.” 
Published  as  “La  Vieille  aux  Loques.” 

Third  State:  The  printer’s  name  and  address  are  removed. 

\ 22  LA  MARCHANDE  DE  MOUTARDE.  (W.  16.)  Leaning  upon 
the  left  door-post  of  a narrow  doorway,  above  which  there  is  a 
barred  window,  stands  a young  girl.  Within  the  smaller  interior 
an  old  woman  wearing  a white  cap  stands  bending  over  a table 
on  which  are  a box  and  jars.  Other  jars  are  ranged  on  a shelf 
above,  supported  by  a large  bracket.  On  the  street-pavement, 
below  the  left  door-post:  “Whistler.” 

Etching.  Height,  6yi  inches;  width,  3^  inches. 

On  a drawing  of  the  subject  in  the  Freer  Collection,  formerly  in 
the  Haden  Collection,  Whistler  wrote:  “Marchand  de  Potions  in 
Cologne.”  This  drawing  was  evidently  made  in  the  course  of 
the  journey  of  1858. 

First  State:  Diagonal  lines  slightly  shade  the  bracket  of  the 
shelf.  The  shading  on  the  wall  above  the  jars  is  comparatively 


>4 


whistler’s  etchings  and  dry-points 

slight.  The  top  of  the  table,  near  the  edge,  is  unshaded  for 
its  whole  length. 

Mansfield  Collection. 

Second  State:  Vertical  lines  are  added  on  the  bracket  of  the 
shelf,  and  there  is  much  additional  shading  on  the  wall  above 
the  jars.  Two  lines  are  added  on  the  top  of  the  table,  near  the 
edge.  “Imp.  Delatre,  Rue  St.  Jacques,  171,”  added  at  the 
left,  along  the  lower  edge  of  the  plate. 

British  Museum  Collection. 

Third  State:  There  is  much  additional  shading  on  the  wall 
above  the  jars,  and  throughout  the  interior. 

On  the  impression  of  this  state  in  the  Avery  Collection  Whist- 
ler wrote:  “La  Marchande  de  Moutarde.” 

In  this  state,  one  of  the  “Twelve  Etchings  from  Nature.” 
Published  as  “La  Marchande  de  Moutarde.” 

Fourth  State:  Two  horizontal  lines  are  drawn  through  the 
name  and  address  of  the  printer. 

Fifth  State:  The  printer’s  name  and  address  have  been  re- 
moved, and  in  their  place  is  a single  horizontal  line. 

In  this  state,  published  in  “English  Etchings.” 

23  QUARTIER  MOUFFETARD.  (W.  17.)  In  the  far  corner  of  a 
gloomy  room,  with  rough  flooring  and  ceiling  of  heavy  beams — seen 
through  an  irregular  doorway — are  a small  table  and  a bed,  above 
which  are  a cupboard  and  shelves.  High  on  a wall  at  the  left  of 
the  doorway  hang  two  empty  bags.  Without,  at  the  left  are  a pot 
and  a basin,  and  at  the  right  is  a basket,  which  casts  a shadow 
on  the  outer  wall.  On  the  wall,  above  the  basket:  “Whistler.”  v' 
Etching.  Height,  6 inches;  width,  3 X inches. 

On  impressions  of  two  states  in  the  Avery  Collection  Whistler 
wrote:  “Quartier  Mouf[f]etard.” 

First  State:  In  general  effect  the  walls  and  ceilings  are  white. 
There  is  only  slight  shading  on  the  bags,  and  an  irregular  space 


15 


whistler’s  etchings  and  dry-points 

on  the  wall  at  the  left  of  the  bags  is  blank.  Except  for  the 
shadows  cast  by  the  table  and  the  bed,  the  floor  is  but  slightly 
shaded.  The  side  of  the  pot  is  unshaded.  The  shadow  cast  by 
the  basket  is  indicated  by  horizontal  lines,  crossed  by  diagonal 
lines  running  from  left  to  right. 

Freer  Collection. 

Second  State:  There  is  stronger  shading  on  the  interior  walls 
and  on  the  ceiling,  bringing  the  objects  in  the  room  into  greater 
relief. 

Benedict  Collection. 

Third  State:  There  is  shading  on  the  two  bags  and  in  the 
irregular  space  at  the  left  of  the  bags,  and  on  the  side  of  the  pot. 
There  is  additional  shading  on  the  walls,  ceiling  and  floor. 
Avery  and  Mansfield  Collections. 

Fourth  State:  Vertical  lines  are  added  in  the  shadow  cast  by 
the  basket,  and  the  shading  within  the  room  is  deepened. 

Fifth  State:  Two  figures  are  introduced:  one  a girl  sitting  up 
in  the  bed;  the  other  a youth  wearing  a hat  and  large  blouse, 
and  standing  by  the  side  of  the  bed.  Near  the  signature  is 
added  in  dry-point:  “ 1858.” 

Catalogued  by  Wedmore  as  “The  Rag-Gatherers’.” 

THE  KITCHEN.  (W.  19.)  In  a deep  embrasure,  in  the  far 
part  of  a dark  roughly-built  kitchen  with  earthen  floor  and  tim- 
bered ceiling,  stands  a woman  looking  out  of  a vine-bordered  win- 
dow. At  her  right  is  a long  staff,  placed  against  the  wall.  In 
front,  at  the  right,  is  a basket  near  a dresser  on  which  are  two 
deep  pans  and  above  which,  in  racks  on  the  wall,  are  pans  and 
platters.  On  the  opposite  side  are  two  jars  on  a high  shelf,  and 
there  are  jars  in  the  embrasure  beyond.  Near  the  bottom  of 
the  plate,  at  the  right:  “Whistler.” 

Etching.  Height,  8 14  inches;  width,  6}4  inches. 

On  a pencil-drawing  of  the  subject  in  the  Freer  Collection,  for- 

16 


whistler’s  etchings  and  dry-points 

merly  in  the  Haden  Collection,  Whistler  wrote:  “Cuisine  a 
Lutzelbourg.”  Lutzelbourg  is  now  Luxembourg. 

First  State:  With  no  inscription  except  the  signature  of  the 
artist. 

Vanderbilt  Collection. 

Second  State:  With  “Imp.  Delatre,  Rue  S.  Jacques,  171,” 
added  below  “Whistler.” 

In  this  state,  one  of  the  “Twelve  Etchings  from  Nature.” 
Published  as  “The  Kitchen.” 

Third  State:  The  plate  has  been  extensively  reworked  in 
dry-point,  especially  on  the  walls  and  in  the  foreground. 

The  impressions  of  this  state — printed  by  Whistler,  although 
Delatre’s  name  and  address  remain — were  published  in  1885  by 
the  Fine  Art  Society  of  London. 

25  DELANNOY,  SKETCHING.  (W.  20.)  Wearing  gaiters  and 
loose  trousers  and  Whistler’s  broad-brimmed  hat,  he  sits,  mak- 
ing a sketch,  surrounded  by  groups  of  peering  children.  Above, 
reading  from  the  right:  “Douze  Eaux  Fortes  d’apres  Nature  par 
James  Whistler”;  at  the  left:  “Imp.  Delatre,  Rue  St.  Jacques, 
1 71,  Paris,  Nov.  1858”;  near  the  lower  edge  of  the  plate,  in  the 
center:  “A  Mon  viel  Ami  Seymour  Haden.” 

Etching.  Height,  4 yi  inches;  width,  5 $4  inches. 

The  Title  to  “Twelve  Etchings  from  Nature,”  also  known  as 
“The  French  Set.” 

On  a drawing  of  this  subject  in  the  Freer  Collection,  formerly 
in  the  Haden  Collection,  Whistler  wrote:  “Succr.  d’Ernesti  a 
Cologne.”  Ernest  Delannoy  was  Whistler’s  companion  there. 
Catalogued  by  Wedmore  as  “The  Title  to  the  French  Set.” 

26  AUGUSTE  DELATRE.  (W.  21.)  A half-length  portrait  of  a 
man  of  youthful  appearance,  with  rather  long  hair,  a moustache 
and  an  imperial,  who  is  turned  toward  the  left,  but  is  looking  to 


17 


whistler’s  etchings  and  dry-points 


the  front.  In  the  right  upper  corner:  “Homage  a Mme.  Delatre. 
J.  Whistler.” 

Etching.  Height,  inches;  width,  2l/&  inches. 

Delatre  was  the  famous  French  printer  of  etchings,  by  whom  the 
“Twelve  Etchings  from  Nature,”  in  their  published  states,  and 
many  others  of  Whistler’s  early  etchings,  were  printed.  He  was 
born  in  1822,  and  died  in  1907. 


27  THE  WINE-GLASS.  (W.  31.)  A champagne  glass  which 
stands  on  a small  tray  with  scalloped  edge.  There  is  shading 
in  the  background.  Near  the  left  lower  corner:  “Whistler.” 
Etching.  Height,  3X  inches;  width,  2yi  inches. 

First  State:  The  shading  in  the  background  is  for  the  most 
part  made  by  close  horizontal  lines. 

On  the  impression  of  this  state  in  the  Avery  Collection  Whist- 
ler wrote:  “London”  and  “ 1st  State.” 

Second  State:  The  background  is  darkened  by  extensive 
cross-hatching. 

28  THE  SLIPPER.  (W.  29.)  A young  woman  with  long  flowing 
hair  is  lying  in  a curtained  bed,  holding  close  to  her  face,  in  her 
left  hand,  a large  book  or  magazine  with  the  covers  folded  back. 
On  the  floor,  in  front  of  the  bed,  is  a slipper.  There  is  shading  in 
the  background.  At  the  right  of  the  slipper:  “Whistler.” 
Etching.  Height,  4^  inches;  width,  3 ]/%  inches. 

First  State:  The  face  is  lightly  shaded  and  the  nose  is  straight. 
Avery,  Freer,  and  Mansfield  Collections. 

Second  State:  The  face  has  been  redrawn  and  the  nose  made 
retrousse.  Lines  are  added  on  the  hair  and  background. 

On  the  impression  of  this  state  in  the  Avery  Collection  Whist- 
ler wrote:  “The  Slipper.” 

Catalogued  by  Wedmore  as  “ Reading  in  Bed.” 

18 


whistler’s  etchings  and  dry-points 

29  ANNIE,  SEATED.  (W.  24.)  A young  girl  with  long  hair  fall- 
ing in  curls  about  her  face,  her  hands  folded  in  her  lap,  is  seated, 
looking  down,  in  a chair  through  the  open  framework  of  which  her 
right  elbow  is  thrust.  In  the  background,  at  the  left  are  shadows 
of  her  head  and  of  the  chair,  with  some  shading  below,  and  at  the 
right  are  a few  lines  of  shading.  Near  the  left  lower  corner  of 
the  plate:  “Whistler.” 

Etching.  Height,  5 inches;  width,  3X  inches. 

A portrait  of  the  daughter  of  Francis  Seymour  Haden. 

First  State:  In  front,  in  the  space  below  the  skirt,  are  a few 
short  vertical  lines;  near  them  are  a few  diagonal  lines,  and  at 
the  right  there  are  faint  suggestions  of  a leg. 

Avery,  Freer,  and  Mansfield  Collections.  On  an  impression  of 
this  state  Haden  wrote:  “Annie  Haden,  1859.” 

Second  State:  Numerous  horizontal  lines  in  dry-point  extend 
nearly  across  the  plate,  below  the  skirt.  The  number  of  short 
vertical  lines  is  increased,  and  vertical  lines  are  added  in  the 
shading  at  the  left.  In  the  center,  near  the  bottom  of  the 
plate:  “Annie.” 


30  READING  BY  LAMPLIGHT.  (W.  25.)  Seated  at  the  far 
side  of  a table  and  facing  toward  the  right,  a lady  is  reading  from 
a book  that  she  holds  near  her  eyes  and  keeps  open  with  her  right 
hand  on  the  leaves.  Light  is  thrown  on  the  book  and  on  the  lower 
part  of  a shadowy  background  from  a tall  reading-lamp,  standing 
on  a bowl  inverted  upon  the  table,  near  a cup  and  saucer.  Near 
the  right  lower  corner:  “J.  Whistler.” 

Etching  and  Dry-point.  Height,  6X  inches;  width,  4%  inches. 

First  State:  The  face  is  delicately  shaded  and  the  nose  is 
straight.  The  shadows  of  the  head  and  book  are  sharply 
defined.  The  cup  and  saucer  are  shaded.  There  is  a notice- 
able pattern  on  the  bowl. 

Avery,  Freer,  and  Mansfield  Collections. 


19 


whistler’s  etchings  and  dry-points 

Second  State:  The  plate  has  been  extensively  reworked  in 
dry-point.  The  face  has  been  redrawn,  its  shading  lightened 
and  the  nose  made  retrousse.  The  shadows  of  the  head  and 
book  are  no  longer  well  defined.  The  table  and  the  illuminated 
part  of  the  background  have  been  made  lighter,  and  the  shaded 
part  has  been  made  darker.  The  cup  and  saucer  are  now 
white,  and  the  pattern  on  the  bowl  is  obscured. 

31  THE  MUSIC-ROOM.  (W.  26.)  In  a wide  room,  about  a round 
table  on  which  stands  a lighted  lamp,  three  people  are  seated: 
At  the  right,  a lady  holding  a book  near  her  eyes;  at  the  left,  a 
gentleman  stretched  out  in  an  armchair,  with  a newspaper  in 
his  hands;  at  the  back,  a gentleman  reading  a book  which  rests 
on  the  table.  The  plate  is  unsigned. 

Etching.  Height,  5%  inches;  width,  8)4  inches. 

The  gentleman  in  the  armchair  is  Francis  Seymour  Haden,  sur- 
geon and  etcher — now  Sir  Seymour  Haden;  the  lady  is  his  wife; 
the  gentleman  beyond  the  table  is  Mr.  Traer,  Haden’s  assistant. 

First  State:  The  lady’s  hands  are  in  outline,  and  the  fingers 
of  the  right  hand  of  the  gentleman  in  the  armchair  undefined. 
Avery,  Freer,  and  Mansfield  Collections. 

Second  State:  The  lady’s  hands  are  shaded  by  diagonal  lines, 
and  the  fingers  of  the  right  hand  of  the  gentleman  in  the  arm- 
chair are  defined.  There  is  much  additional  shading  on  the 
lady’s  dress  and  in  the  background. 

On  the  impression  of  this  state  in  the  Avery  Collection  Whist- 
ler wrote:  “My  friend  Traer.” 

32  SEYMOUR.  (W.  23.)  A boy  dressed  in  Scotch  fashion  stands, 
with  his  hands  behind  him,  by  the  trunk  of  a large  tree  in  a park, 
near  a pool  in  which  the  boy’s  legs  and  the  tree  are  reflected.  In 
the  right  lower  corner:  “Whistler.” 

Etching.  Height,  5X  inches;  width,  3^  inches. 

The  boy  is  Seymour  Haden,  the  younger. 


20 


whistler’s  etchings  and  dry-points 

First  State:  The  boy’s  left  foot  is  advanced  beyond  the  other. 
Mansfield  Collection. 

Second  State:  “Seymour”  is  added  at  the  left,  near  the  bot- 
tom of  the  plate. 

Third  State:  The  boy’s  legs  have  been  redrawn  and  brought 
close  together. 

33  GREENWICH  PENSIONER.  (W.  32.)  An  elderly  man  wear- 
ing a tall  hat  and  holding  a cane  in  his  left  hand  is  reclining  on  a 
grassy  slope  of  Greenwich  Park.  Near  the  right  lower  corner: 
“Whistler,  Greenwich,  1859.” 

Etching.  Height,  3^  inches;  width,  5X  inches. 

34  GREENWICH  PARK.  (W.  33.)  Prominent  near  the  center 
of  an  open  space  in  the  Park  are  the  trunks  of  two  large  trees, 
branches  from  which  extend  toward  the  right.  Parallel  with 
these  at  the  left,  are  the  trunks  of  two  small  trees.  In  the  dis- 
tance, at  the  left,  a great  tree  partly  conceals  a row  of  buildings; 
at  the  right,  young  trees  bound  the  scene.  Seen  between  the  two 
trees  near  the  center,  are  a woman  and  two  children,  seated 
upon  the  grass.  At  the  right  a young  girl  is  standing.  In  the 
left  lower  corner:  “Whistler.” 

Etching.  Height,  4%  inches;  width,  7^  inches. 

First  State:  The  sky  is  clear,  and  the  foliage  lightly  shaded. 
Avery,  Freer,  and  Mansfield  Collections.  On  the  impression 
of  this  state  in  the  Avery  Collection  Whistler  wrote:  “On  the 
Thames.” 

Second  State:  There  are  clouds  in  the  sky.  Through  exten- 
sive additional  work  the  foreground  and  the  foliage  are  heavily 
shaded.  Two  thin  irrelevant  lines  cross  the  plate  from  left  to 
right. 

On  the  impression  of  this  state  in  the  Avery  Collection  Whist- 
ler wrote:  “Greenwich  Park.” 


21 


whistler’s  etchings  and  dry-points 


35  THE  MEADOW.  (W.  46.)  A stretch  of  meadow  extends  to 
a few  low  cottages  and  a large  barn,  reached  by  a road  along 
which  runs  a fence  bounding  another  meadow.  At  the  right  is  a 
broad  path,  at  the  edge  of  which,  in  front,  appear  the  head  and 
shoulders  of  a boy  wearing  a Scotch  cap.  Beyond,  two  posts 
support  a peculiar  frame,  astride  of  which  a man  is  seated,  and 
near  which  another  is  standing.  In  the  far  distance  two  men  are 
walking.  There  are  numerous  trees  in  the  background.  At  the 
left,  near  the  bottom  of  the  plate:  “Whistler,  1859.” 

Etching  and  Dry-point.  Height,  4 % inches;  width,  inches. 

First  State:  A single  horse  is  grazing  in  the  meadow.  There 
are  no  clouds  in  the  sky. 

On  the  impression  of  this  state  in  the  Avery  Collection  Whist- 
ler wrote:  “ 1st  State.” 

Second  State:  A horse  is  added,  grazing  close  by  the  other. 
There  are  heavy  rolling  clouds.  The  meadow,  buildings  and  trees 
have  become  dark  through  much  additional  work  in  dry-point. 

Catalogued  by  Wedmore  as  “The  Landscape  with  the  Horse.” 

36  NURSEMAID  AND  CHILD.  (W.  34.)  At  the  right,  in  an 
open  field,  a woman  wearing  a striped  dress  and  a bonnet  with 
strings  is  seated  near  a child  wearing  a hat  and  a velvet  cape.  An 
open  parasol  is  propped  up  between  them.  A paling  on  an  em- 
bankment across  the  field  extends  toward  the  left,  to  a corner 
at  which  are  two  large  trees.  Beyond,  a man  and  a woman  are 
walking.  Near  the  left  lower  corner:  “Whistler.” 

Etching.  Height,  3%  inches;  width,  5%  inches. 

First  State:  The  woman  has  a straight  nose  and  her  hair  is 
combed  over  her  ears. 

On  the  impression  of  this  state  in  the  Avery  Collection  Whistler 
wrote:  “Near  Holloway”  and  “ 1st  State.” 

Second  State:  The  woman’s  features  are  entirely  changed. 
Her  nose  is  retrousse  and  her  hair  is  combed  back. 


22 


whistler’s  etchings  and  dry-points 


37  THAMES  WAREHOUSES.  (W.  35.)  In  the  midstream  is  a 
large  laden  barge  upon  which  a man  is  standing,  and  beyond  it 
appears  the  stern  of  a barge  on  which  are  two  men.  At  the  left 
is  a long  row  of  warehouses,  in  front  of  which  are  numerous  barges 
and  a few  larger  vessels.  In  the  distance,  beyond  shipping,  there 
rises  a great  volume  of  smoke.  On  the  nearest  warehouse:  “Fred 
Vink  & Co.,  Rope  & Sail  Makers”;  on  the  next:  “Smith  & Son. 
Hermitage  Coal  Wharf”;  on  a large  dark  warehouse  beyond: 
“ Hore’s  Wharf.”  In  the  right  lower  corner:  “Whistler,  1859.” 
Etching.  Height,  3 inches;  width,  8 inches. 

First  State:  With  outlines  of  a large  barge  at  the  right  of  the 
second  barge,  and  with  long  lines  behind  the  distant  shipping. 

Second  State:  The  outlines  of  the  barge  and  the  long  lines 
behind  the  shipping  have  been  removed. 

On  the  impression  of  this  state  in  the  Avery  Collection  Whist- 
ler wrote:  “Thames  Warehouses.” 

In  this  state,  one  of  “A  Series  of  Sixteen  Etchings  of  Scenes 
on  The  Thames  and  other  Subjects.” 

Published  as  “Thames  Warehouses.” 


38  OLD  WESTMINSTER  BRIDGE.  (W.  36.)  In  the  middle  dis- 
tance, at  the  right  of  buildings  partly  hidden  by  trees,  the  Parlia- 
ment Houses  stand  out  dark  against  the  sky,  and  old  West- 
minster Bridge  stretches  across  the  Thames.  On  the  river  bank 
at  the  left  are  stranded  barges,  and  in  the  river,  by  the  nearest 
barge,  are  two  men  with  horses.  Out  in  the  stream  are  two  side- 
wheel  steamboats  and  some  barges  under  sail.  On  the  Lambeth 
side  are  buildings  and  barges,  slightly  indicated.  There  are  clouds 
in  the  sky.  In  the  left  lower  corner:  “Whistler,  1859.” 

Etching.  Height,  2%  inches;  width,  j%  inches. 

First  State:  There  are  two  heavy  horizontal  lines  underneath 
the  body  of  the  horse  next  to  the  stranded  barge. 

Freer  Collection. 


23 


whistler’s  etchings  and  dry-points 

Second  State:  Fine  horizontal  lines  are  added  below  the  body 
of  the  horse. 

Avery,  Bullard,  and  Mansfield  Collections.  On  the  impression 
in  the  Avery  Collection  Whistler  wrote:  “Old  Westminster 
Bridge.” 

Third  State:  Horizontal  and  diagonal  lines  are  added  in  the 
sky,  along  the  upper  edge  of  the  plate,  at  the  left  of  the  Parlia- 
ment Houses.  Oblique  lines,  meeting  at  the  head  of  the  man 
on  the  horse  at  the  right,  are  added  in  the  water. 

In  this  state,  one  of  the  “Sixteen  Etchings.” 

Published  as  “Old  Westminster  Bridge.” 

Exhibited  at  the  Royal  Academy  in  1863,  under  the  same  title. 
Catalogued  by  Wedmore  as  “Westminster  Bridge.” 

39  L1MEHOUSE.  (W.  37.)  A large  barge,  partly  decked  over, 
is  moored  in  front  of  a warehouse  at  the  right,  beyond  which 
extends  a row  of  Thames-side  buildings.  Out  in  the  river  are 
three  posts  supported  by  braces,  beyond  which  are  numerous 
boats — one  with  sail  partly  unfurled.  In  the  distance  are  sheds 
and  shipping.  A man  stands  in  the  doorway  of  the  warehouse; 
another  is  at  work  on  the  barge;  a woman  descends  steps  of  a 
building  beyond;  three  people  are  seen  on  the  boats.  On  the 
barge,  at  the  right:  “Whistler,  1859.” 

Etching.  Height,  5 inches;  width,  7 % inches. 

First  State:  In  pure  etching.  A row  of  vertical  lines  extends 
below  heavy  shading  under  the  left  half  of  the  deck  of  the 
barge.  The  reflection  of  the  nearest  brace  is  irregular  and 
is  expressed  by  short  horizontal  lines. 

Mansfield  Collection. 

Second  State:  Horizontal  lines  in  dry-point  have  taken  the 
place  of  the  heavy  shading  and  the  vertical  lines  below  the  left 
half  of  the  deck  of  the  barge.  The  reflection  of  the  nearest 
brace  is  defined  by  diagonal  lines  in  dry-point,  and  dry-point 


24 


whistler’s  etchings  and  dry-points 

is  added  on  the  posts  and  their  reflections.  Horizontal  lines 
are  added  across  the  distant  shipping  at  the  extreme  left. 
Avery  and  Mansfield  Collections. 

Third  State  : Fine  dry-point  lines,  expressing  clouds,  are  added 
in  the  upper  part  of  the  sky,  and  there  are  more  horizontal  lines 
across  the  distant  shipping. 

In  this  state,  one  of  the  “Sixteen  Etchings.” 

Published  as  “Limehouse.” 

Exhibited  at  the  Royal  Academy  in  1 86 1 , under  the  title:  “The 
Thames  near  Limehouse.” 

/ 40  EAGLE  WHARF.  (W.  39.)  On  a Thames  barge  which  crosses 
the  bottom  of  the  plate,  a boy  wearing  a cap  sits  facing  front,  his 
hands  upon  his  knees.  Beyond,  at  the  left,  the  embankment  is 
lined  with  warehouses,  in  front  of  which  boats  and  spars  rest  on 
the  sloping  shore  of  the  river.  In  the  middle  distance,  loaded 
barges  lie  alongside  a wharf  and  a large  steamship  lies  out  in  the 
stream.  In  the  far  distance  there  are  warehouses  and  shipping. 
On  the  nearest  warehouse : “ Tyzac,  Whiteley  & Co.” ; on  the  next : 
“W.  Brown,  Sail  Maker,  Ship  Owner”;  on  the  third:  “Eagle 
Wharf.”  On  the  barge,  near  the  center:  “Whistler,  1859.” 
Etching.  Height,  5^8  inches;  width,  8y%  inches. 

One  of  the  “Sixteen  Etchings.” 

Published  as  “ Eagle  Wharf.” 

Catalogued  by  Wedmore  as  “Tyzac,  Whiteley,  & Co.” 

41  BLACK-LION  WHARF.  (W.  40.)  In  front,  in  a barge  on  the 
Thames,  a man  wearing  a cap  on  the  back  of  his  head  sits  facing 
to  the  right,  resting  his  left  arm  on  the  side  of  the  barge.  On  the 
river  are  two  figures  in  a boat  at  the  right.  Near  the  center,  by  a 
landing-stage,  is  a barge  loaded  with  barrels.  Across  the  stream, 
barges  lie  in  front  of  a dilapidated  wharf,  and  a barge  with  furled 
sail  lies  alongside  the  bow  of  a large  vessel.  A rambling  ware- 
house at  the  right,  back  of  which  towers  a huge  dark  building, 


25 


WHISTLER  S ETCHINGS  AND  DRY-POINTS 


bears  the  sign:“Blac  Lion  Wharf.”  Adjoining  the  warehouse 
on  the  left  is  a narrow  dwelling-house,  next  a broad  house  with  a 
balcony  and  with  the  sign : “ St.  Andrews.”  Picturesque  buildings 
extend  from  the  broad  house  to  a large  warehouse  with  tiled  roof, 
behind  which  rises  a tall  chimney  from  which  smoke  issues.  On  a 
wharf  near  the  extreme  left  there  is  a dark  warehouse  with  many 
windows,  in  front  of  which  there  lies  a vessel  listing  toward  the 
wharf.  Upon  the  large  warehouse  are  the  signs:  “Downes”  and 
“Old  Shipping  Clippers  to  let  Every  Day.  Glasgow,  Inverness, 
Grangemouth,  Peterham”;  upon  the  dark  warehouse:  “Hore’s 
Wharf”;  also  “Hoare’s  Wharf.”  Near  the  right  lower  corner: 
“Whistler,  1859.” 

Etching.  Height,  6 inches;  width,  8^6  inches. 

First  State:  The  furled  sail  of  the  barge  is  white.  Save  a 
blank  space,  there  is  no  indication  of  a doorway  in  the  ware- 
house at  the  right.  Beyond  two  barges  in  front  are  faint  out- 
lines of  a third  barge. 

Avery  Collection.  On  the  impression  in  this  collection  Whist- 
ler wrote:  “ 1st  State.” 

Second  State:  The  sail  is  black.  In  the  warehouse  a large 
doorway  in  heavy  shadow  is  well  defined.  The  outlines  of  the 
third  barge  in  front  have  been  removed. 

In  this  state,  one  of  the  “Sixteen  Etchings.” 

Published  as  “ Black-Lion  Wharf.” 

Third  State:  A triangular  blur  near  the  left  lower  corner  of 
the  plate  has  been  removed. 

Exhibited  at  the  Royal  Academy  in  i860,  as  “ Black  Lion  Wharf.” 

THE  POOL.  (W.  41.)  In  front  a man  wearing  a cap  is  sit- 
ting in  a rowboat  near  some  Thames  barges.  At  the  right,  along 
a broad  reach  of  the  river,  are  numerous  warehouses.  Near  the 
left  lower  corner:  “Whistler,  1859.” 

Etching.  Height,  5^6  inches;  width,  8 inches. 


26 


whistler’s  etchings  and  dry-points 

First  State:  At  the  left  of  the  man  in  the  boat  is  the  outline 
of  the  interior  of  a large  barge,  and  beyond  is  a vessel  with 
yards.  At  the  right  are  sketches  of  tall  warehouses  and  sug- 
gestions of  warehouses  beyond. 

Freer  Collection. 

Second  State:  Everything  has  been  removed,  except  the  man 
and  boat  and  signature,  and  the  composition  has  been  redrawn, 
a few  traces  of  former  work  being  visible  in  the  sky.  Back  of 
the  rowboat  is  a mass  of  barges,  one  with  the  name:  “Jane,  No. 
6,”  another  with  a house-cabin,  near  which  a girl  is  standing. 
Beyond  a tall  building  bearing  the  sign : “New  Crane  to  Let,”  is 
a ship  in  dry  dock,  near  a low  building  labelled:  “St.  George’s 
Wf.”  Next  is  a high  structure  with  the  sign:  “Cooper.”  A 
row  of  warehouses  stretches  thence  along  the  river  to  a church 
steeple  in  the  remote  distance.  Out  in  the  stream  are  two  peo- 
ple in  a rowboat,  and  across  the  reach  are  barges  in  a line,  one 
of  which  a man  is  poling. 

Avery  and  Benedict  Collections.  On  the  impression  in  the 
Avery  Collection  Whistler  wrote:  “The  Pool”  and  “ ist  State.” 

Third  State:  Traces  of  the  earlier  work  have  almost  wholly 
disappeared  from  the  sky.  Numerous  fine  dry-point  lines  are 
added  near  the  left  upper  corner  of  the  plate,  and  a few  else- 
where in  the  sky. 

Mansfield  Collection. 

* Fourth  State:  A few  conspicuous  lines  are  added  in  the  sky, 
near  the  center  of  the  plate,  and  numerous  fine  lines  at  the  left. 
In  this  state,  one  of  the  “ Sixteen  Etchings.” 

Published  as  “The  Pool.” 

Exhibited  at  the  Royal  Academy  in  1863,  under  the  same  title. 

43  WAPPING  WHARF.  (W.  42.)  The  riverside  at  Wapping  at 
low  tide,  under  a clouded  sky.  On  the  beach  are  rowboats  and 
barges,  about  which  men  are  at  work.  Back  of  these  extends  a 


27 


whistler’s  etchings  and  dry-points 

row  of  picturesque  buildings,  some  with  high  chimneys.  The 
nearest,  a tall  building  with  two  bay  windows,  one  above  the 
other,  bears,  near  the  top,  the  sign : “Thames  Police.”  The  next 
building  bears  the  sign:  “Wapping  Wharf,”  and  what  appears  to 
be  a sign  of  the  “Yorkshire  Cattle  Company.”  In  the  distance, 
at  the  left,  are  a full-rigged  ship  and  other  shipping.  Near  the 
right  lower  corner:  “Whistler,  1859.” 

Etching.  Height,  6 inches;  width,  inches. 

First  State:  At  the  right  of  a dark  slender  chimney  in  the 
center  there  is  a clear  space  between  the  roofs  and  the  lines 
representing  clouds.  There  is  also  considerable  clear  space 
behind  the  shipping. 

Avery  Collection. 

Second  State:  Numerous  curved  lines  fill  the  space  just  above 
the  roofs,  and  a few  horizontal  lines  are  added  behind  the  dis- 
tant shipping. 

Howe  and  Mansfield  Collections. 

Third  State:  Strong  curved  lines  in  dry-point,  nearly  parallel, 
are  added  above  a roof  with  dormer-windows,  and  many  dry- 
point  lines  are  added  throughout  the  sky. 

In  this  state,  one  of  the  “Sixteen  Etchings.” 

Published  as  “Wapping  Wharf.” 

Fourth  State:  The  strong  curved  lines  in  dry-point  above 
the  roof  with  dormer-windows  have  disappeared.  Numerous 
horizontal  lines  are  added  in  the  sky,  above  the  shipping. 

Catalogued  by  Wedmore  as  “Thames  Police.” 

LONGSHOREMEN.  (W.  43.)  Four  men  and  a woman  and  a 
child  are  seated  about  a table  within  what  appears  to  be  a room 
in  a cheap  tavern.  All  of  the  men  are  wearing  caps  and  three  of 
them  are  smoking  pipes.  The  nearest  is  sitting  in  a chair  in  the 
foreground  at  the  left.  Another,  seated  on  a bench  in  front  of 
the  table,  leans  forward,  his  right  hand  raised  toward  his  face, 

28 


whistler’s  etchings  and  dry-points 

his  left  arm  resting  on  the  table,  near  a beer-mug.  A third  is 
seated  at  the  left  end  of  the  table,  near  a fireplace.  The  fourth 
sits  behind  the  table.  The  woman  and  child  are  sitting  together 
at  the  right.  Near  the  right  lower  corner:  “Whistler,  1859.” 
Etching.  Height,  5^  inches;  width,  inches. 

On  the  impression  in  the  Avery  Collection  Whistler  wrote:  “ Long- 
shore men.” 

45  THE  LIME-BURNER.  (W.  44.)  Seen  through  a heavily  tim- 
bered square  archway,  a lime-burner  stands  leaning  on  a barrel, 
in  front  of  ladders  placed  against  a white  wall.  At  the  right  are 
other  ladders,  more  barrels  and  a large  sieve.  A passageway, 
near  the  far  end  of  which  a man  is  seated,  leads  under  varied  roofs 
to  an  opening  on  the  Thames.  Beyond  is  a glimpse  of  the  broad 
river,  with  shipping  and  warehouses  in  the  distance.  Near  the 
right  lower  corner:  “Whistler,  1859”;  in  the  left  lower  corner, 
faintly  written:  “Whistler.” 

Etching.  Height,  inches;  width,  7 inches. 

First  State:  There  are  only  horizontal  lines  on  the  wall  at  the 
right,  between  the  lime-burner  and  the  longer  ladders. 

On  the  impression  of  this  state  in  the  Avery  Collection  Whistler 
wrote:  “The  Lime-Burner ” and  “A mon  ami  Traer  de  Whistler.” 

Second  State:  Fine  vertical  lines  are  added  on  the  wall  at  the 
right  of  the  lime-burner. 

In  this  state,  one  of  the  “Sixteen  Etchings.” 

Published  as  “The  Lime-Burner.” 

An  impression  was  exhibited  at  the  Royal  Academy  in  i860, 
under  the  title:  “W.  Jones,  Lime-Burner,  Thames  Street.” 

46  BILLINGSGATE.  (W.  45.)  On  a barge  in  front,  at  the  left, 
two  men  are  standing  and  three  are  seated.  Beyond,  fishing- 
smacks  with  swaying  masts,  some  with  sails  partly  raised,  are 
lying  side  by  side,  moored  to  a great  post  out  in  the  Thames.  On 


29 


whistler’s  etchings  and  dry-points 


the  stone  embankment  at  the  left,  reached  by  a landing-bridge 
protected  by  tall  guard-piles,  rise  the  clock-tower  and  adjoining 
buildings  of  Billingsgate  Market.  Farther  away  is  London  Bridge, 
and  above  buildings  at  the  right  is  a square  church  tower.  People 
crowd  the  boats,  pass  up  and  down  the  landing-bridge,  at  the  foot 
of  which  stands  a tall  slender  man,  and  throng  the  embankment. 
Near  the  bottom  of  the  plate,  at  the  right:  “ Whistler,  1859.” 
Etching.  Height,  6 inches;  width,  8^6  inches. 

First  State:  The  faces  of  the  men  standing  on  the  barge  are 
in  clear  profile.  Their  arms  are  not  defined.  The  figure  of  the 
tall  slender  man  is  nearly  white.  The  partly-raised  sails  are 
shaded  by  close  parallel  lines.  The  hoops  on  the  two  masts 
behind  the  barge  are  distinctly  drawn.  Clouds  are  expressed 
by  thin  firm  lines. 

Babbott  Collection. 

Second  State  : The  figure  of  the  tall  slender  man  is  now  shaded. 
There  is  much  additional  shading  on  the  hulls  of  the  boats  and 
on  their  sails,  and  on  the  guard-piles  and  the  mooring-post. 
The  bridge  and  the  buildings  at  the  right  are  somewhat  fainter. 
Lines  are  added  in  the  sky,  including  a heavy  line  at  the  left. 
Mansfield  Collection. 

Third  State:  The  heavy  line  in  the  sky  at  the  left  is  softened. 
Numerous  fine  lines  are  added  in  the  sky  and  on  the  bridge, 
and  on  the  buildings  at  the  right. 

Avery  and  Benedict  Collections. 

Fourth  State:  The  figure  of  the  tall  man  on  the  landing-stage 
has  been  redrawn,  and  is  again  nearly  white.  The  features  and 
figures  of  all  but  one  of  the  men  on  the  barge  have  been  partly 
burnished  out  and  to  some  extent  redrawn,  but  are  indistinct. 
There  is  additional  shading  on  the  sails  and  on  the  masts,  ob- 
scuring the  hoops.  A part  of  the  tallest  topmast  at  the  left 
and  some  of  its  rigging  have  been  removed.  Many  lines  are 
added  in  the  sky. 


3° 


whistler’s  etchings  and  dry-points 

Mansfield  Collection.  On  the  impression  of  this  state  in  this 
collection  Whistler  wrote:  “Billingsgate.” 

Fifth  State:  The  face  and  figure  of  the  man  standing  at  the 
right,  and  the  faces  of  two  of  the  seated  men,  are  more  defined. 
The  tall  topmast  at  the  left  and  its  rigging  have  been  redrawn, 
and  two  lines,  instead  of  a single  line,  now  extend  from  the 
peak  to  the  end  of  each  yard.  The  next  topmast  at  the  right 
has  been  lengthened.  Fine  diagonal  lines  are  added  in  the 
sky,  between  the  masts. 

Avery  Collection. 

Sixth  State:  Shading  is  added  on  the  tall  slender  man  and 
on  the  coat  of  the  man  seated  at  the  right  on  the  barge. 

Seventh  State:  The  fine  diagonal  lines  in  the  sky  have  for  the 
most  part  disappeared. 

This  etching,  in  the  latest  state,  was  published  in  “The  Port- 
folio”— a London  art-magazine — in  January,  1878,  after  about 
a hundred  impressions  had  been  taken  on  Japanese  paper. 

47  A THAMES  SKETCH.  (W.  38.)  In  front  are  two  men  and  a 
boy,  all  wearing  caps.  At  the  right  is  a large  barge;  beyond  are 
rowboats  and  other  barges  and  several  figures.  On  the  bank  at 
the  right  are  a few  picturesque  buildings  incompletely  drawn,  one 
bearing  the  sign  of  “W.  Stevens.  Boat  & Barge  Buil[der].” 
Farther  away  are  outline  suggestions  of  more  buildings.  Out  in 
the  stream  is  a loaded  boat  which  a man  is  rowing  and  in  which 
another  figure  is  seated.  In  the  distance  are  indications  of  ship- 
ping. There  are  many  lines  in  the  sky.  The  plate  is  unsigned. 
Etching.  Height,  6 inches;  width,  8>6  inches. 

Catalogued  by  Wedmore  as  “A  Wharf.” 

48  SKETCH  OF  SHIPPING.  (W.  127.)  At  the  left  is  a ship  with 
long  dark  hull  and  very  tall  masts,  beyond  which  the  masts  of 
other  vessels  appear.  Astern  of  the  ship,  partly  hidden,  is  a small 


3' 


whistler’s  etchings  and  dry-points 

vessel  in  outline.  Alongside  the  ship  is  a cluster  of  barges,  and 
in  front  there  are  the  outlines  of  a large  barge.  At  the  extreme 
right  is  a large  vessel,  faintly  indicated.  The  plate  is  unsigned. 
Etching.  Height,  6 inches;  width,  8 yA  inches. 

Catalogued  by  Wedmore  as  “A  Sketch  of  Ships.” 


49  SOUPE  A TROIS  SOUS.  (W.  27.)  A room  of  a cheap  Parisian 
restaurant,  in  which  five  men  are  seated,  apparently  late  at  night. 
Behind  a table  at  the  left,  on  which  are  a glass  and  fork  and  tray 
with  plates,  sits  a man  with  bushy  hair,  moustache  and  imperial. 
Beyond,  a man  wearing  a cap  and  heavy  cape  bends  over  a table 
on  which  are  a bottle  and  carafe.  In  the  center  lounges  a man 
with  hat  drawn  over  his  eyes  and  head  bent  forward  as  if  in  sleep. 
At  the  right  a dark  man  wearing  a hat  is  apparently  taking  a meal 
at  a table  across  which  sits  a man  resting  his  head  on  his  hands. 
Gas  is  burning  from  a fixture  in  the  ceiling.  High  on  the  wall, 
at  the  right:  “Whistler.” 

Etching.  Height,  6 inches;  width,  8 % inches. 


50  B1BI  VALENTIN.  (W.  28.)  A child  wearing  a long  loose 
garment  and  gaiters  sits  facing  front,  leaning  upon  the  left  arm, 
with  feet  extended  toward  the  left.  Near  the  left  lower  corner: 
“Whistler,  1859.” 

Etching.  Height,  6 inches;  width,  8j4  inches. 

On  the  mount  of  an  impression  in  the  Freer  Collection,  formerly  in 
the  Haden  Collection,  Haden  wrote:  “Valentin  pere  is  an  engraver 
in  whose  house  Whistler  did  his  first  etching.” 

First  State  : The  left  hand  remains  unfinished.  There  are  large 
white  spaces  on  the  child’s  dress.  A thin  line  crosses  the  plate  in 
the  background  and  there  are  short  horizontal  lines  at  the  left. 
Mansfield  Collection.  In  this  collection  is  also  a counter-proof 
of  this  state,  retouched  with  pencil — the  only  counter-proof  of  a 
Whistler  etching  known  to  the  compiler. 


32 


whistler’s  etchings  and  dry-points 

Second  State:  The  hand  is  finished  in  dry-point,  and  numer- 
ous dry-point  lines  are  added  on  the  child’s  dress.  Lines  are 
added  below  the  long  thin  line  in  the  background. 

On  the  impression  of  this  state  in  the  Avery  Collection  Whistler 
wrote:  “Bibi  Valentin.” 

51  B1B1  LALOUETTE.  (W.  30.)  A curly-headed  boy  wearing 
a blouse,  and  facing  to  the  left,  sits  on  a slope  upon  which  lies  a 
military  cap.  Toward  the  right  lower  corner:  “Whistler,  1859.” 
Etching.  Height,  9 inches;  width,  6 inches. 

Mr.  Wedmore  says:  “He  was  the  son  of  Lalouette,  who  kept  a 
pension  near  the  Rue  Dauphine,  at  which  Whistler,  Legros,  Fan- 
tin  and  others  used  to  take  their  meals  in  those  early  days.” 

First  State:  In  reverse,  at  the  left,  near  the  bottom  of  the 
plate,  is  the  front  face  of  the  same  boy,  well  defined,  and  at  the 
right,  below  the  signature  and  date,  a woman’s  face  is  faintly 
indicated. 

Freer  Collection. 

Second  State:  The  two  heads  on  the  lower  part  of  the  plate  v 
have  been  removed,  faint  traces  remaining.  Horizontal  lines 
are  added  at  the  left  and  right  of  the  figure. 

On  the  impression  of  this  state  in  the  Avery  Collection  Whistler 
wrote:  “Bibi  Lalouette — Paris.” 

52  BECQUET.  (W.  48.)  A young  man  with  bushy  hair,  mous- 
tache and  imperial,  and  wearing  a smoking  cap,  sits  facing  front, 
bending  forward,  holding  between  his  legs  a violoncello  slightly 
indicated.  At  the  bottom  of  the  plate  and  near  the  top  are  mus- 
kets and  other  traces  of  an  earlier  etching.  There  is  shading  in 
the  background.  The  plate  is  unsigned. 

Etching  and  Dry-point.  Height,  9%  inches;  width,  7%  inches. 
Becquet  was  a sculptor,  in  Paris,  of  musical  tastes  and  accomplish- 
ments. He  was  born  in  1829  and  died  in  1907. 


33 


WHISTLER  S ETCHINGS  AND  DRY-POINTS 


First  State:  The  head  and  figure  are  in  etching.  The  shoul- 
ders are  narrow.  There  are  numerous  diagonal  lines  each  side 
of  the  figure. 

Avery,  Freer,  and  Scholle  Collections. 

The  impressions  of  this  state  have  been  printed  with  a frisket 
and  show  little  more  than  a half-length  figure. 

Second  State:  The  shoulders  are  broadened  by  fine  dry-point 
lines.  Vertical  lines  are  added  each  side  of  the  figure,  and  hori- 
zontal lines  are  added  at  the  right.  There  is  cross-hatching 
toward  the  bottom  of  the  plate. 

In  this  state,  one  of  the  “Sixteen  Etchings.” 

Published  as  “The  Fiddler.” 

Third  State:  Heavy  vertical  lines  in  dry-point  are  added  in 
the  background,  each  side  of  the  figure,  and  short  diagonal  lines 
are  added  below  the  right  arm. 

53  ASTRUC.  (W.  49.)  A quarter-length  portrait  of  a man  with 
shaggy  hair  and  full  beard,  facing  nearly  front,  but  slightly  to  the 
right,  his  right  hand  raised  toward  his  face.  There  is  shading  in 
the  background.  Toward  the  left  lower  corner:  “Whistler,  1859.” 
Dry-point.  Height,  8^  inches;  width,  6 inches. 

First  State:  At  the  right,  near  the  bottom  of  the  plate,  are  a 
few  small  figures  in  outline;  at  the  left:  “Lamont”  and  “Lam- 
mont,”  also  “Lamont”  in  reverse.  There  are  numerous  lines 
in  the  background  at  the  right,  and  a few  at  the  left. 

Avery  Collection.  On  the  impression  in  this  collection  Whist- 
ler wrote:  “Astruc,  Litterateur”  and  “Figures  not  mine.” 

Second  State:  Numerous  lines  are  added  in  the  background 
at  the  left,  and  a few  in  the  background  at  the  right. 

Mansfield  Collection. 

Third  State  : There  is  somewhat  more  work  on  the  face.  Two 
strong  vertical  lines  are  added  at  the  right  of  the  hand.  Hori- 
zontal lines  are  added  at  the  left,  above  the  signature.  The 


34 


whistler’s  etchings  and  dry-points 


small  figures  and  the  three  irrelevant  words  have  been  removed. 
Freer  Collection. 

Exhibited  at  the  Royal  Academy  in  i860,  under  the  title:  “Mon- 
sieur Astruc,  Redacteur  du  Journal  L’Artiste.” 

54  WHISTLER.  (W.  52.)  A half-length  portrait  of  the  artist, 
with  thick  curly  hair  and  full  moustache,  and  wearing  a low- 
crowned  hat  with  broad  brim.  He  is  bending  forward,  facing 
front  and  looking  out  at  the  object  which  he  is  sketching.  There 
is  shading  in  the  background.  At  the  right,  below  the  left  arm: 
“Whistler,  1859.” 

Dry-point.  Height,  9 inches;  width,  5%  inches. 

First  State:  The  crown  and  brim  of  the  hat  are  for  the  most 
part  slightly  shaded. 

On  the  impression  of  this  state  in  the  Avery  Collection  Whist- 
ler wrote:  “Paris — Whistler  by  himself”  and  “Ipse.” 

Second  State:  The  crown  and  brim  of  the  hat  are  heavily 
shaded  by  horizontal  lines. 

55  DROUET.  (W.  53.)  A three-quarter  length  portrait  of  a.  man 
with  strong  features,  piercing  eyes,  full  beard  and  dishevelled 
hair,  standing  with  arms  folded,  facing  toward  the  right.  There 
is  shading  in  the  background.  Below,  near  the  center:  “Drouet, 
Sculpteur,”  and  higher  up,  at  the  right:  “Whistler,  1859,”  and 
in  the  right  upper  corner:  “Whistler,  Maitre  Eauforte.” 
Dry-point.  Height,  8 31$  inches;  width,  6 inches. 

Charles  Drouet  was  a sculptor  in  Paris,  and  a collector  of  works 
of  art.  He  was  born  in  1836  and  died  in  1908.  By  specific  be- 
quests his  collections  were  distributed  among  various  museums 
in  the  French  capital,  the  Louvre  becoming  the  recipient  of  a 
number  of  paintings,  the  Luxembourg  receiving  a painting  by 
Whistler,  and  the  Print  Department  of  the  Bibliotheque  Nationale 
receiving  Drouet’s  impression  of  the  portrait  just  described. 


35 


whistler’s  etchings  and  dry-points 

First  State:  There  is  much  shading  on  the  forehead  and  face, 
but  very  little  on  the  figure.  The  form  of  the  body  below  the 
arm  is  scarcely  indicated.  Horizontal  lines  express  the  shad- 
ing in  the  background. 

Avery  Collection.  On  the  impression  in  this  collection  Whist- 
ler wrote:  “Drouet,”  and  Drouet  wrote:  “Ch.  Drouet,  3 juillet 
1873,”  to  which  is  appended  the  memorandum  by  Mr.  Avery: 
“ Signed  for  S.  P.  A.” 

Second  State:  Many  lines  have  been  removed  from  the  fore- 
head and  face.  The  shape  of  the  right  arm  is  emphasized  by 
numerous  heavy  strokes.  The  form  of  the  body  below  the 
arm  is  indicated  by  vertical  lines.  In  the  background  at  the 
left  vertical  lines  are  added. 

FUMETTE,  STANDING.  (W.  50.)  A tall  young  woman  with 
her  hair  falling  loosely  upon  her  shoulders  stands  turning  to  the 
right,  but  looking  toward  the  front.  Her  right  arm,  in  a puffed 
sleeve,  is  by  her  side,  the  hand  unseen,  as  if  in  a pocket. 
Dry-point.  Height,  13T6  inches;  width,  8$4  inches. 

F:;oT  State:  The  plate  is  unsigned. 

Avery  and  Mansfield  Collections.  On  the  impression  in  the 
Avery  Collection  Whistler  wrote:  “Fumette.” 

Second  State:  Near  the  right  lower  corner:  “Whistler,  1859.” 
Benedict  and  Freer  Collections. 

FUMETTE’S  BENT  HEAD.  (W.  51.)  On  the  upper  part  of 
the  plate  appear  the  head  and  shoulders  of  a young  woman  with 
long  flowing  hair,  bending  forward  and  facing  nearly  front,  her 
right  hand  raised  toward  her  face.  In  the  lower  part  of  the 
plate,  at  the  right,  are  traces  of  a portrait  of  Whistler  wearing  a 
broad-brimmed  hat.  In  the  left  upper  corner  are  traces  of  other 
work.  There  are  horizontal  lines  in  the  background  at  the  right. 
Dry-point.  Height,  8J/&  inches;  width,  5%  inches. 

36 


whistler’s  etchings  and  dry-points 
First  State:  The  plate  is  unsigned. 

Avery  and  Mansfield  Collections.  On  the  impression  in  the 
Avery  Collection  Whistler  wrote:  “Fumette.” 

Second  State:  Near  the  left  lower  corner:  “Whistler,  1859.” 


58  F1NETTE.  (W.  54.)  A tall  woman  wearing  a low  round  hat 
and  velvet  dress  with  flowing  sleeves  stands,  with  head  turned 
slightly  to  the  right,  by  an  open  window  through  which  a glimpse 
is  had  of  Paris  roofs,  a dome  and  two  spires. 

Dry-point.  Height,  inches;  width,  7^  inches. 

Mr.  Wedmore  says:  “Finette  was  a dancer.  She  was  generally 
the  companion  of  Alice  la  Provenqale,  or  of  Rigolboche,  in  a 
famous  quadrille  then  in  vogue.” 

First  State:  Only  the  head  and  the  hat  are  well  defined.  The 
figure  is  suggested  by  a very  few  lines.  Except  the  near  roofs, 
what  is  seen  of  Paris  is  expressed  in  the  most  delicate  outline. 
There  are  a few  faint  lines  in  the  sky. 

Freer  Collection. 

Second  State:  The  dress  is  indicated  by  strong  lines  expres- 
sive of  folds.  In  the  background,  which  is  shaded  by  a few 
vertical  lines,  there  is  a frame  on  the  wall,  and  a desk  is  sug- 
gested at  the  right.  The  space  is  blank  between  the  nearest 
roofs  and  the  window-sill,  below  which  vertical  lines  appear. 
Near  the  right  lower  corner,  an  inch  and  a quarter  from  the 
bottom  of  the  plate:  “Whistler,  1859.” 

Avery  Collection.  On  the  impression  of  this  state  in  this  col- 
lection Whistler  wrote:  “Finette”  and  “ 1st  State.” 

Third  State:  The  dress  is  quite  fully  expressed  in  rich  dry- 
point.  Numerous  vertical  lines  are  added  in  the  background, 
and  within  the  frame  on  the  wall,  and  across  the  lower  border 
of  the  frame.  Below  the  window-sill  vertical  and  horizontal 
lines  are  added,  indicating  panelling. 

Parker  and  Vanderbilt  Collections. 


37 


whistler’s  etchings  and  dry-points 


Fourth  State:  The  dress  is  further  elaborated.  In  place  of  the 
desk  is  a table,  on  which  are  an  open  box,  a black  domino  and 
scattered  papers.  Lines  are  added  in  the  background  and  with- 
in the  frame.  A window-guard  with  open  scrollwork  fills  the 
space  next  above  the  window-sill.  There  are  suggestions  of  a 
pattern  on  the  carpet.  The  distant  buildings  seen  through  the 
window  are  now  shaded  and  there  are  clouds  in  the  sky.  The 
earlier  signature  has  become  obscured,  and  nearer  the  right 
lower  corner  is  added:  “Whistler,  1859.” 

Avery  Collection. 

Fifth  State:  The  pattern  on  the  carpet  is  more  fully  expressed. 
Numerous  short  lines  are  added  within  the  picture-frame,  and 
numerous  long  vertical  lines  are  added  in  the  panelling  below 
the  window-sill. 

Buckingham  Collection. 

Sixth  State:  There  is  more  modeling  of  the  face,  and  the  dress 
is  more  heavily  black  throughout.  Fine  vertical  and  diagonal 
lines  are  added  within  the  picture-frame.  In  the  background 
numerous  vertical  lines  are  added  at  the  right  of  the  figure,  and 
horizontal  and  diagonal  lines  below  the  table. 

Freer,  Lathrop,  and  Mansfield  Collections. 

Seventh  State:  Horizontal  lines  are  added  on  the  window-sill, 
where  it  borders  the  panelling,  and  on  the  upper  panel.  Diagonal 
lines  are  added  in  the  background  below  the  frame,  and  fine 
vertical  lines  elsewhere  in  the  background  and  within  the  frame. 

Eighth  State:  Fine  vertical  and  diagonal  lines  are  added  more 
extensively  within  the  frame  and  upon  the  table  and  open  box, 
and  throughout  the  background,  and  fine  horizontal  lines  are 
added  on  the  panelling. 

Avery  Collection. 

Ninth  State:  Many  short  diagonal  lines,  running  from  left  to 
right,  are  added  on  the  front  of  the  skirt,  and  numerous  long 
horizontal  lines  are  added  across  the  carpet. 

38 


whistler’s  etchings  and  dry-points 

59  A VENUS.  (W.  56)  A nude  woman  is  lying  on  her  right  side 
in  bed,  apparently  asleep,  her  left  arm  bent  across  her  body  and 
her  limbs  partly  concealed  by  the  bedclothes.  There  are  traces 
of  another  figure,  in  reverse,  in  the  lower  part  of  the  plate,  at  the 
right.  Near  the  left  lower  corner:  “Whistler,  1859.” 

Etching.  Height,  6 inches;  width,  9 inches. 

First  State:  Near  the  right  upper  corner  are  horizontal  lines 
in  dry-point  and  horizontal  lines  made  by  the  roulette. 

Second  State:  Vertical  and  diagonal  lines  are  added  over  the 
earlier  work  near  the  right  upper  corner. 

60  ISLE  DE  LA  CITE,  PARIS.  (W.  55.)  A light  iron  foot-bridge 
— the  Pont  des  Arts— two  arches  of  which,  resting  on  stone  piers, 
are  elaborately  pictured,  crosses  the  Seine  from  a quay  in  the  fore- 
ground at  the  right.  In  the  distance  the  arches  of  a stone  bridge — 
the  Pont  Neuf — connect  each  side  of  the  river  with  the  Island, 
the  lower  level  of  which  extends  like  a prow  into  the  middle  of  the 
stream.  Beyond,  partly  screened  by  a few  trees  scarcely  more 
than  suggested,  rise  the  tall  buildings  of  the  Island,  crowned  by 
the  remote  towers  and  the  spire  of  Notre  Dame.  Along  the  left 
bank  of  the  river  are  buildings  slightly  indicated.  Many  people 
are  on  the  iron  bridge,  and  people  and  vehicles  are  passing  on 
the  quay  and  across  the  Pont  Neuf.  Near  the  left  lower  corner: 
“Whistler,  Dec.  1859”  and  “Paris  de  la  Galerie  d’Ap.” 

Etching.  Height,  7%  inches;  width,  11  yi  inches. 

On  the  impression  in  the  Mansfield  Collection  Whistler  wrote: 
“ From  a window  in  Louvre.” 


61  ARTHUR  HADEN.  (W.  47.)  A young  boy  is  seated  in  a chair 
before  a curtain.  His  body  is  turned  to  the  right  and  his  face 
toward  the  front;  his  left  hand  is  grasping  the  frame  of  the  chair, 
and  his  right  hand  is  holding  his  left  foot,  which  is  crossed  upon 
his  right  knee. 


39 


whistler’s  etchings  and  dry-points 

Dry-point.  Height,  87/&  inches;  width,  6 inches. 

A portrait  of  a son  of  Francis  Seymour  Haden. 

First  State:  Only  the  head,  the  right  hand,  upper  part  of  the 
boy’s  body  and  upper  part  of  the  chair  are  finished.  The  lower 
parts  are  suggested  by  a few  outlines.  A few  vertical  lines 
indicate  the  curtain  in  the  background.  Near  the  bottom  of 
the  plate  are  slight  indications  of  a head  in  reverse. 

Benedict  and  Freer  Collections. 

Second  State:  The  figure  and  chair  are  completed  and  the 
curtain  is  fully  expressed.  The  boy’s  jacket  is  of  rich  velvet, 
his  trousers  are  striped,  he  has  silk  stockings  and  wears  pumps. 
A round  hat  lies  on  the  floor,  at  the  right.  Below  the  chair,  at 
the  left:  “Whistler,  i860.” 

On  the  impression  of  this  state  in  the  Avery  Collection  Whist- 
ler wrote:  “Arthur  Haden.” 

Catalogued  by  Wedmore  as  “Arthur  Seymour.” 

62  ANNIE  HADEN.  (W.  57.)  A young  girl  with  long  hair  falling 
about  her  shoulders,  and  wearing  a round  hat,  a long  cape,  and  a 
short  and  full  skirt,  stands  in  front  of  a curtain,  turning  slightly 
to  the  right,  but  looking  toward  the  front.  Near  the  left  lower  cor- 
ner: “Whistler,  i860,”  with  the  “ 6 ” in  reverse. 

Dry-point.  Height,  13H  inches;  width,  8yi  inches. 

First  State:  Only  the  head  and  hat  are  fully  expressed.  The 
cape  and  the  skirt  are  merely  indicated.  The  upper  part  of  the 
curtain  is  elaborated  at  the  left  of  the  girl’s  figure.  A few  lines 
suggest  the  continuation  of  the  work.  Toward  the  bottom  of 
the  plate,  faintly  expressed,  is  a girl’s  head  in  reverse. 

Freer  Collection. 

Second  State:  There  is  additional  work  on  the  figure.  The 
right  leg  is  slightly  indicated.  The  curtain  is  expressed  each 
side  of  the  figure. 

Avery  Collection.  On  the  impression  in  this  collection  Whist- 


40 


whistler’s  etchings  and  dry-points 


ler  wrote,  within  the  plate-mark:  “One  of  my  very  best”  and, 
below  the  plate-mark:  “Early  State.” 

Third  State:  The  curtain  and  the  figure  of  the  girl  are  com- 
pleted. The  girl  wears  slippers  with  rosettes  and  stands  on  a 
carpet  which  shows  a large  pattern.  Nearly  all  traces  of  the 
head  in  reverse  have  vanished. 

Mansfield  and  Wrenn  Collections. 

6 3 MR.  MANN.  (W.  58.)  A half-length  portrait  of  a man  of  mid- 
dle age,  with  round  face  and  side  whiskers.  He  wears  a wide-awake 
hat  and  a large  cape.  He  is  seated  in  a chair,  merely  suggested,  in 
front  of  a low-panelled  partition  ornamented  with  a small  balus- 
trade. He  faces  slightly  to  the  right,  while  looking  toward  the 
front.  In  the  left  lower  corner:  “Whistler,  i860.” 

Dry-point.  Height,  8%  inches;  width,  5%  inches. 

First  State:  The  forehead  and  face  are  shaded  by  numerous 
strong  lines.  There  is  a clear  angular  space,  at  the  left  of  the 
chair-frame,  below  the  roll  of  the  cape  over  the  right  wrist. 
Avery  and  Mansfield  Collections.  On  the  impression  in  the 
Avery  Collection  Whistler  wrote:  “Mr.  Mann.” 

Second  State:  The  strong  lines  have  been  for  the  most  part 
removed  from  the  forehead  and  face,  and  the  features  in  large 
measure  redrawn.  The  angular  space  is  filled  with  cross-hatch- 
ing. Numerous  fine  vertical  lines  are  added  at  the  right,  on  the 
panelling  above  the  balustrade,  and  a few  vertical  lines  at  the 
right  of  the  partition. 

Freer  Collection. 

64  AXENFELD.  (W.  61.)  A half-length  portrait  of  a man  with 
moustache  and  imperial  and  with  long  hair  brushed  back  from 
his  forehead.  He  sits  facing  slightly  to  the  left,  but  is  looking  out 
toward  the  front. 

Dry-point.  Height,  8%  inches;  width,  5%  inches. 


41 


whistler’s  etchings  and  dry-points 

First  State:  The  face  and  the  figure  are  delicately  expressed. 
There  is  no  sign  of  a hand,  no  shading  in  the  background  and 
no  signature. 

Avery  and  Freer  Collections.  On  the  impression  of  this  state 
in  the  Avery  Collection  Whistler  wrote:  “Axenfeld”  and  “ist 
State.” 

Second  State:  The  face  is  well  defined  and  there  is  shading 
in  the  background,  each  side  of  the  head.  Near  the  left  lower 
corner:  “Whistler,  i860,”  with  the  “6”  in  reverse. 

Avery  and  Freer  Collections. 

Third  State:  The  head  and  figure  are  completed.  The  right 
hand  is  added,  holding  a cigarette  from  which  smoke  is  curling. 
The  background,  each  side  of  the  head  and  shoulders,  is  strongly 
shaded. 

Avery,  Freer,  and  Mansfield  Collections. 

Exhibited  at  the  Royal  Academy  in  1861,  under  the  title:  “Mons. 
Oxenfeld,  Litterateur,  Paris.” 


65  R1AULT.  (W.  62.)  A three-quarter  length  portrait  of  an  el- 
derly man,  bearded  and  somewhat  bald.  He  sits  at  the  left  of  a 
workman’s  table,  upon  which,  on  a pad,  rests  a wood  block  which 
he  holds  in  place  with  his  left  hand  while  he  engraves  upon  it 
with  his  right.  Upon  the  table  are  four  burins.  In  the  back- 
ground at  the  right  is  a framed  picture.  There  is  shading  at  the 
left  of  the  engraver’s  right  shoulder  and  between  his  figure  and 
the  table.  Near  the  right  lower  corner:  “Whistler,  i860.” 
Dry-point.  Height,  8 J4  inches;  width,  5^  inches. 

Riault  was  a wood-engraver  in  Paris. 

First  State:  The  coat,  below  the  right  arm,  has  the  appearance 
of  being  rolled  back.  The  upper  drawer  of  the  table  is  almost 
free  from  lines  and  there  are  only  horizontal  lines  on  the  mold- 
ing under  the  top  of  the  table.  There  are  only  vertical  lines 
in  the  background  at  the  left. 


42 


whistler’s  etchings  and  dry-points 


Freer  and  Mansfield  Collections. 

On  the  impression  in  the  Mansfield  Collection  someone  has 
written:  “Carpentier  dit  Riault.” 

Second  State:  There  is  much  additional  shading  below  the 
right  arm,  obscuring  the  roll  of  the  coat,  and  additional  shading 
on  the  coat  and  between  the  figure  and  the  table.  Vertical 
lines  are  added  on  the  molding  of  the  table,  and  vertical  and 
horizontal  lines  on  the  upper  drawer. 

Avery  and  British  Museum  Collections.  On  the  impression  in 
the  Avery  Collection  Whistler  wrote:  “Riault.” 

Third  State:  There  is  still  more  shading  on  the  coat  and  be- 
tween the  figure  and  the  table,  and  more  cross-hatching  on 
the  side  of  the  table,  and  more  work  in  the  background  at  the 
left  of  the  right  shoulder.  A few  open  horizontal  lines  are 
added  above  the  close  earlier  lines  at  the  right. 

Catalogued  by  Wedmore  as  “The  Engraver.” 

66  ROTHERHITHE.  (W.  60.)  Two  men  of  middle  age,  wearing 
caps  and  smoking  long  pipes,  are  seated  in  the  corner  of  a balcony 
overlooking  the  Thames.  Two  boats  with  single  masts,  one  with 
furled  sail  and  the  other  with  sail  partly  furled,  are  beached  on  the 
near  shore,  in  front  of  large  warehouses.  Along  the  river  stretches 
a row  of  warehouses,  beyond  which  is  seen  the  dome  of  St.  Paul’s. 
On  the  river,  at  the  left  is  a large  brig  and  in  the  distance  is  other 
shipping.  On  the  balcony-railing,  at  the  left:  “Whistler,  i860.” 
Etching.  Height,  10%  inches;  width,  7%  inches. 

Mr.  Pennell  says  that  it  is  the  balcony  of  The  Angel,  an  inn  still 
in  Cherry  Gardens,  Rotherhithe,  and  that  from  the  same  balcony 
Whistler  painted  “Wapping”  and  “The  Thames  in  Ice.” 

First  State:  The  hull  of  the  boat  with  partly-furled  sail  is 
not  expressed.  The  coat  of  the  man  at  the  right  is  indicated 
by  very  few  lines  and  his  hand  is  only  slightly  defined. 
Benedict,  Bullard,  and  Scholle  Collections. 


43 


whistler’s  etchings  and  dry-points 

Second  State:  The  bow  and  bowsprit  of  the  boat  with  partly- 
furled  sail  are  expressed  in  dry-point.  The  deck  is  left  nearly 
white.  The  hand  of  the  man  at  the  right  is  more  defined  and 
there  is  more  work  on  the  coats  of  both  men.  Numerous  short 
dry-point  lines  are  added  in  the  sky. 

Avery  Collection. 

Third  State:  Lines  are  added  in  dry-point  on  the  deck  of  the 
boat,  and  strong  diagonal  lines,  running  from  right  to  left,  are 
added  in  the  sky.  The  shading  throughout  the  plate  is  now 
materially  strengthened. 

In  this  state,  one  of  the  “Sixteen  Etchings.” 

Published  as  “Wapping.” 

Exhibited  at  the  Royal  Academy  in  1862,  as  “ Rotherhithe.” 
Wapping  is  on  the  left  bank  of  the  Thames,  opposite  Rotherhithe. 


67  THE  PENNY  BOAT.  (W.  59.)  A sketch  at  Limehouse  on  the 
Thames.  In  the  foreground  appear  the  heads  and  shoulders  of 
people  supposed  to  be  standing  on  a river  steamboat.  Out  in  the 
stream  are  barges  and  a side-wheel  steamboat,  and  beyond  there 
is  shipping.  On  the  opposite  bank  is  a row  of  buildings,  a few 
at  the  left  well  defined,  the  rest  in  outline.  The  plate  is  unsigned. 
Etching.  Height,  3%  inches;  width,  8 yi  inches. 

First  State:  There  are  no  lines  behind  the  shipping  at  the  right. 
Avery  Collection.  On  the  impression  in  this  collection  Whist- 
ler wrote:  “Thames — Limehouse.” 

Second  State:  Dry-point  lines  are  added  in  the  sky,  behind  the 
shipping  at  the  right  and  above  some  of  the  buildings. 

Mansfield  Collection. 


68  THE  FORGE.  (W.  63.)  At  the  left,  before  the  forge,  stands  a 
blacksmith  wearing  cap  and  apron,  his  left  hand  on  his  hip,  his 
right  hand  thrust  forward  holding  with  tongs  an  iron  in  the  fire. 


44 


whistler’s  etchings  and  dry-points 

Back  of  him  stand  two  youthful  helpers  wearing  hats,  one  leaning 
upon  a hammer  which  rests  on  an  anvil.  In  the  background  at 
the  left  appears  the  face  of  a woman;  at  the  right,  near  a bench, 
are  a man,  woman  and  child.  The  walls  and  the  timbered  ceil- 
ing are  expressed  by  elaborate  shading.  In  the  right  lower  corner: 
“Whistler,  1861 .” 

Dry-point.  Height,  7 inches;  width,  12-Mi  inches. 

Done  at  Perros-Guirec  in  Brittany. 

First  State:  In  front  of  the  smith’s  face  is  a space  nearly 
blank  and  at  the  right  of  his  head  is  a smaller  blank  space. 
There  are  broad  white  spaces  in  the  background  in  the  right  half 
of  the  plate,  near  the  center  and  at  the  extreme  right.  There 
are  but  few  lines  near  the  bottom  of  the  plate,  at  the  left.  Five 
horizontal  lines  cross  the  anvil. 

Mansfield  Collection.  The  impression  in  this  collection  is  per- 
haps unique. 

Second  State:  The  space  in  front  of  the  smith’s  face  is  filled 
with  horizontal  lines,  and  lines  are  added  extensively  in  the 
broad  spaces  previously  left  blank  in  the  background.  Strong 
diagonal  lines  cross  the  right  upper  corner  of  the  plate.  Nu- 
merous lines  are  added  near  the  bottom  of  the  plate,  at  the  left. 
There  is  additional  work  on  the  figures  of  the  helpers. 
Buckingham  Collection. 

Third  State:  Vertical  lines  are  added  at  the  left,  on  the  flue 
of  the  forge.  Fine  vertical  lines  are  added  on  the  anvil,  and 
strong  diagonal  lines  below  the  anvil.  A cluster  of  short  diag- 
onal lines  hides  the  right  foot  of  the  nearest  helper.  Fine  lines 
are  added  throughout  the  background. 

In  this  state,  one  of  the  “Sixteen  Etchings.” 

Published  as  “The  Forge.” 

Fourth  State:  The  small  space  that  was  left  blank  at  the  right 
of  the  smith’s  head  is  filled  in  with  fine  lines. 

Exhibited  at  the  Royal  Academy  in  1863,  as  “The  Forge.” 


45 


whistler’s  etchings  and  dry-points 

69  THE  MISER.  (W.  65.)  In  a wretched  room  with  broad  beams 
in  the  ceiling  and  wide  boards  on  the  floor,  a man  is  seated  on  a 
chair  by  a window.  He  bends  forward  toward  the  window  and 
casts  a shadow  upon  the  floor.  At  the  left  side  of  the  room,  back 
of  a long  bench,  is  a rude  table  on  which  stands  a pitcher.  A gar- 
ment hangs  above  the  figure,  at  the  right  of  the  window  embra- 
sure, and  high  on  the  left  wall  hang  an  unframed  picture  and  a hat. 
Dry-point.  Height,  4 $4  inches;  width,  6 X inches. 

On  a drawing  in  the  Freer  Collection,  formerly  in  the  Haden  Col- 
lection, Whistler  wrote:  “Chambre  a la  ferme  de  Maladrie.” 

First  State:  The  space  between  the  figure  and  the  heavily 
shaded  part  of  the  wall  at  the  right  is  almost  clear.  There  are 
no  lines  on  the  wall  near  the  picture.  There  is  no  signature. 
Freer  Collection. 

Second  State:  Two  short  oblique  lines  are  added  on  the  pic- 
ture, two  on  the  wall  just  below  the  picture,  and  two  at  the  right. 
There  is  no  signature. 

Avery  Collection.  On  the  impression  in  this  collection  Whist- 
ler wrote:  “The  Miser.” 

Third  State:  Long  vertical  lines  are  added  in  the  space  at  the 
right  of  the  figure.  There  is  no  signature. 

Fourth  State:  Short  diagonal  lines  are  added  across  the  ver- 
tical lines  at  the  right  of  the  figure.  The  shadow  of  the  figure 
has  been  made  densely  black.  There  is  no  signature. 

Mansfield  Collection. 

Fifth  State:  Heavy  lines  are  added  on  the  wall  at  the  right, 
and  numerous  fine  lines  on  the  ceiling  and  floor,  and  on  the  wall 
at  the  left.  In  the  left  lower  corner:  “Whistler.” 

70  VAUXHALL  BRIDGE.  (W.  66.)  In  front  are  three  Thames 
barges,  one  with  sails  furled.  On  the  nearest  barge  a man  is 
standing,  braced  against  a framework  of  timber  to  which  a rope 
drawn  taut  from  an  outer  barge  is  fastened.  Beyond,  under  a 

46 


whistler’s  etchings  and  dry-points 

cloudy  sky,  is  Vauxhall  Bridge,  over  which  vehicles  are  passing, 
and  through  the  nearest  arches  of  which  buildings  across  the  river 
are  visible.  Near  the  right  lower  corner:  “Whistler.” 

Etching.  Height,  2%  inches;  width,  4 % inches. 

First  State:  The  signature  is  without  date. 

Freer  and  Mansfield  Collections. 

Second  State:  With  “1861”  added  below  and  at  the  left  of 
the  signature. 

On  the  impression  of  this  state  in  the  Avery  Collection  Whist- 
ler wrote:  “Vauxhall  Bridge.” 

71  M1LLBANK.  (W.  67.)  The  Thames  at  Millbank  at  low  tide. 
On  the  exposed  shore  at  the  right,  in  front  of  a timbered  embank- 
ment, is  a long  row  of  guard-piles,  and  near  the  water’s  edge  lies 
an  unwieldy  barge  with  “ [D]elight  1861  ” on  the  stern.  Thereisa 
man  on  the  barge,  near  which  two  youths  are  standing  on  the 
shore.  Across  the  river  are  seen  the  towers  of  Lambeth  Palace 
and  a row  of  warehouses.  Out  in  the  stream  is  a small  steamboat, 
and  farther  away  is  a barge  under  sail. 

Etching.  Height,  4 inches;  width,  4M  inches. 

First  State:  Etched  in  the  foreground:  “The  Works  of  James 
Whistler,  Etchings  and  Dry-points,  are  on  view  at  E.  Thomas’, 
Publisher,  39,  Old  Bond  Street.” 

Avery  and  Mansfield  Collections.  On  the  impression  of  this 
state  in  the  Avery  Collection  Whistler  wrote:  “A  mon  ami 
Ernest  Delannoy,  Whistler,  1861.” 

Delannoy  was  an  artist  with  whom  Whistler  made  his  journey  in 
Alsace-Lorraine  and  into  Germany  in  1858. 

Second  State:  A few  horizontal  lines  in  dry-point  are  added 
in  the  shadow  of  the  youth  at  the  right.  “Not”  has  been  in- 
serted after  “are.” 

Third  State:  “Not”  has  been  removed,  and  “London”  is  now 
added  at  the  end  of  the  inscription. 


47 


whistler’s  etchings  and  dry-points 


Fourth  State:  The  inscription  has  been  wholly  removed. 

In  this  state,  one  of  the  “Sixteen  Etchings.” 

Published  as  “Millbank.” 

72  LITTLE  WAPP1NG.  (W.  71.)  At  the  right,  near  a wharf  on 
the  Thames,  are  a number  of  barges;  out  in  the  stream  are  two 
rowboats  and  a small  barge;  beyond  there  is  a cluster  of  vessels; 
in  the  distance  is  a line  of  warehouses,  under  a cloudy  sky.  There 
are  men  in  the  rowboats  and  two  men  on  the  nearest  barge,  and 
there  is  a man  on  the  small  barge.  At  the  right  of  the  nearest 
barge:  “Whistler,  1861.” 

Etching.  Height,  4^  inches;  width,  4 inches. 

First  State:  The  bow  of  the  third  barge  is  only  slightly  indi- 
cated. There  are  no  reflections  of  this  barge  or  of  the  rowboat 
near  it. 

British  Museum  Collection. 

Second  State:  The  bow  of  the  third  barge  is  fully  defined  and 
rigging  is  added  on  its  masts.  Reflections  of  the  second  and 
third  barges  and  of  the  rowboats  are  expressed,  and  there  are 
additional  lines  in  the  sky — all  in  dry-point. 

On  the  impression  of  this  state  in  the  Avery  Collection  Whistler 
wrote:  “Little  Wapping.” 

73  THE  LITTLE  POOL.  (W.  72.)  A scene  on  the  Thames  below 
London  Bridge.  Many  barges  lie  along  the  river  bank,  in  front  of 
a bulkhead  at  the  left,  on  which  are  two  men,  one  standing,  the 
other  seated  and  sketching.  Beyond  stretches  a long  row  of  build- 
ings. Out  in  the  stream  ships  are  clustered.  On  the  bulkhead: 
“Whistler,  1861.” 

Etching.  Height,  4 inches;  width,  4 inches. 

First  State:  In  pure  etching.  In  the  stream  there  are  two 
rowboats  with  rowers.  The  sky  is  clear.  Below  the  bulkhead 
and  barges:  “The  Works  of  James  Whistler:  Etchings  and  Dry 

48 


whistler’s  etchings  and  dry-points 

Points,  are  on  view  at  E.  Thomas’  Publisher.  39,  Old  Bond 
Street.” 

Mansfield  Collection. 

Second  State:  There  is  an  appearance  of  aquatint  upon  the 
second  barge,  upon  the  bulkhead,  upon  the  figures  and  about  the 
inscription. 

Mansfield  Collection. 

Third  State:  Beyond  the  second  barge  is  added  a barge  with 
raised  sail,  and  on  which  are  several  people.  Near  the  clustered 
ships  is  another  rowboat.  There  is  more  shading  on  the  barges 
and  warehouses  and  on  the  ships,  the  reflections  of  which  are 
extended,  and  there  are  lines  in  the  sky. 

Mansfield  Collection. 

Fourth  State:  Shading  is  added  on  the  skirt  of  the  coat  of  the 
man  standing.  There  are  outlines  of  a boy  seated  on  the  bulk- 
head and  facing  to  the  left.  Another  rowboat  is  added  between 
the  barges  and  ships. 

British  Museum  Collection. 

Fifth  State:  The  boy  is  now  distinctly  expressed,  sitting  with 
his  legs  hanging  over  the  bulkhead.  The  faces  of  the  two  men 
on  the  bulkhead  are  more  defined,  and  there  is  additional  work 
on  their  hats  and  coats.  The  ships  and  warehouses  are  dark- 
ened, and  many  lines  are  added  in  the  sky. 

Mansfield  Collection. 

Sixth  State:  The  boy  has  been  removed  from  the  bulkhead, 
and  the  sail  and  figures  have  been  removed  from  the  added 
barge.  Work  in  dry-point  is  added  on  the  figures  of  the  men 
on  the  bulkhead,  and  the  man  sketching  now  holds  a large  draw- 
ing-pad or  sketchbook.  Spiles  are  added  in  dry-point  at  the  end 
of  the  bulkhead. 

British  Museum  Collection. 

Seventh  State:  All  of  the  lettering  except  the  signature  and 
the  date  has  been  removed. 


49 


whistler’s  etchings  and  dry-points 

In  this  state,  one  of  the  “Sixteen  Etchings.’’ 

Published  as  “The  Little  Pool.” 

The  man  standing  was  Serjeant  Thomas;  the  man  sketching, 
Percy  Thomas,  and  the  boy,  Ralph  Thomas. 

74  WESTMINSTER  BRIDGE  IN  PROGRESS.  (W.  70.)  A long 
wooden  bridge,  supported  on  piles,  extends  across  the  Thames 
from  near  a landing-stage  at  the  extreme  left.  Through  the  near- 
est openings  a glimpse  is  had  of  two  spans  of  a bridge  with  iron 
framework.  Across  the  river  are  a few  buildings,  delicately  drawn. 
On  the  landing-stage  stands  a man  with  a tall  hat,  leaning  against 
the  landing-bridge.  Near  the  lower  edge  of  the  plate,  at  the  right 
of  the  center,  appear  the  head  and  shoulders  of  a man  wearing  a 
low-crowned  hat.  In  the  right  lower  corner:  “Whistler,  1861.” 
Dry-point.  Height,  6 inches;  width,  14  inches. 

Avery  and  Howe  Collections. 

75  EARLY  MORNING,  BATTERSEA.  (W.  79.)  At  the  left, 
in  the  foreground,  a rowboat  lies  on  the  shore  of  the  Thames,  at 
ebb-tide.  Beyond  is  Cadogan  Pier  with  its  barge-like  landing- 
stage,  which  a steamboat  is  leaving.  Out  in  the  stream  there  are 
several  barges,  one  of  them  with  hoisted  sail.  Across  the  river 
high  buildings  and  tall  chimneys  appear,  under  a cloudy  sky;  in  the 
distance  is  Battersea  Bridge.  In  the  left  lower  corner:  “Whistler.” 
Dry-point.  Height,  4^4  inches;  width-  5%  inches. 

On  the  impression  in  the  Avery  Collection  Whistler  wrote:  “ Bat- 
tersea, dawn.” 

One  of  the  “Sixteen  Etchings.” 

Published  as  “Early  Morning  (Battersea).” 

Catalogued  by  Wedmore  as  “Cadogan  Pier.” 

76  OLD  HUNGERFORD  BRIDGE.  (W.  80.)  In  the  middle  dis- 
tance a suspension-bridge,  upheld  by  towers  resting  on  massive 


50 


whistler’s  etchings  and  dry-points 

piers,  spans  the  Thames  from  a high  trestle  at  the  left.  Beneath 
the  bridge  are  seen  the  iron  columns  supporting  the  Charing  Cross 
railway-bridge.  Along  the  trestle  runs  a passageway  to  the  land- 
ing-float at  Hungerford  Pier,  about  which  river  steamboats  are 
clustered.  Nearer  are  a steamboat,  barges  and  rowboats.  By  a 
post  in  the  right  lower  corner:  “Whistler.” 

Etching.  Height,  5^  inches;  width,  8 inches. 

This  bridge  was  removed  and  now  crosses  the  Severn  at  Clifton, 
near  Bristol. 

First  State:  There  are  comparatively  few  lines  in  the  sky,  and 
there  is  no  smoke  just  above  the  nearer  awning  on  the  float. 
There  are  a number  of  blotches  on  the  plate,  near  the  left  upper 
corner. 

Scholle  Collection. 

Second  State:  The  blotches  have  been  removed  and  the  spaces 
where  they  were  are  filled  with  short  dry-point  lines,  and  a few 
lines  are  added  elsewhere  in  the  sky. 

Avery  and  Mansfield  Collections.  Upon  the  impression  in  the 
Avery  Collection  Whistler  wrote:  “Old  Hungerford.” 

Third  State:  Fine  dry-point  lines  are  added  throughout  the 
sky.  A large  volume  of  smoke  rises  above  the  nearer  awning 
on  the  float. 

In  this  state,  one  of  the  “Sixteen  Etchings.” 

Published  as  “Old  Hungerford.” 

An  impression  was  exhibited  at  the  Royal  Academy  in  1863, 
under  the  title:  “Hungerford  Bridge.” 


77  JO.  (W.  64.)  A half-length  portrait  of  a young  woman  with 
large  features  and  with  flowing  hair.  Turning  slightly  to  the  left, 
she  faces  to  the  front.  The  background  above  her  head  is  heavily 
shaded.  In  the  right  lower  corner:  “Whistler,  1861.” 

Dry-point.  Height,  8 % inches;  width,  5^  inches. 

Avery,  Freer,  Howe,  and  Mansfield  Collections. 


51 


whistler’s  etchings  and  dry-points 


A portrait  of  Joanna  Heffernan,  the  model  for  “The  White  Girl  ” 
and  “The  Little  White  Girl.” 

78  JO’S  BENT  HEAD.  (Sup.  370.)  Near  the  top  of  the  plate  is 
the  head  of  a young  woman  with  flowing  hair,  who  is  bending  for- 
ward and  facing  to  the  right.  A few  lines  below  suggest  her  fig- 
ure and  the  lower  edge  of  her  dress.  In  the  background,  above 
the  head  and  in  front  of  the  face,  there  is  strong  shading. 
Dry-point.  Height,  8 % inches;  width,  5 inches. 

First  State:  The  lower  edge  of  the  dress  is  indicated  at  the 
right  by  three  firm  lines,  and  at  the  left  by  one  strong  line  and 
two  fine  lines. 

Benedict  Collection.  On  the  impression  in  this  collection  is 
written:  “Jo.” 

Second  State:  One  of  the  three  lines  indicating  the  lower  edge 
of  the  dress  is  lengthened,  and  four  short  lines  are  added  near 
them,  and  at  the  left  a short  line  is  added. 

Freer,  Mansfield,  and  Parker  Collections. 

79  THE  OPEN  BOOK.  A young  woman  with  flowing  hair,  and 
wearing  a dress  with  close-fitting  waist,  puffed  sleeves  and  a full 
skirt,  is  seated  in  a large  armchair.  She  faces  to  the  right,  her 
right  hand  rests  on  her  lap,  and  a book  lies  open  on  her  knees.  In 
the  right  lower  corner:  “Whistler,  1861.” 

Dry-point.  Height,  5 y%  inches;  width,  4^  inches. 

Known  to  the  compiler  only  through  impressions  from  the  can- 
celled plate. 

80  LADY  IN  AN  ARMCHAIR.  A portrait  of  an  elderly  lady  wear- 
ing a cap,  who  is  seated  in  an  armchair  and  is  facing  to  the  right, 
her  right  hand  resting  upon  her  lap.  In  the  right  lower  corner: 
“Whistler,  1861,”  with  the  “6”  reversed. 

Dry-point.  Height,  8J4  inches;  width,  5%  inches. 


52 


whistler’s  etchings  and  dry-points 

Known  to  the  compiler  only  through  impressions  from  the  can- 
celled plate. 

81  RATCLIFFE  FlIGHWAY.  (W.  74.)  Sketches  of  people  in  a sail- 
ors’ dance  house:  In  front,  at  the  left, a woman  without  head-cov- 

ering, and  a man  wearing  a broad-brimmed  hat  and  smoking  a long 
pipe;  behind  them,  a man  wearing  a wide-awake;  near  the  center, 
a man  wearing  a cap  and  smoking  a short  pipe,  and  a woman  with 
uncovered  head;  farther  away,  other  couples,  and  in  the  back- 
ground, musicians.  The  plate  is  unsigned. 

Dry-point.  Height,  5%  inches;  width,  inches. 

/ 82  THE  ENCAMPMENT.  (W.  75.)  At  the  left,  sheltered  by  the 
flap  of  a tent  near  a camp-fire  in  the  foreground,  two  men  are 
seated,  one  smoking  a pipe.  At  the  right,  outside  the  tent,  by  a 
wide  water  in  which  trees  are  reflected,  stands  another  man,  also 
smoking.  Below  the  two  men:  “Whistler,  1861.” 

Dry-point.  Height,  \ \%  inches;  width,  6%  inches. 

British  Museum  Collection.  The  impression  in  this  collection  is 
perhaps  the  only  impression  from  the  uncancelled  plate. 

On  an  impression  in  the  Avery  Collection  from  the  cancelled  plate 
Whistler  wrote:  “The  Encampment — Ridley,  Edwards,  Boatman.” 
W.  M.  Ridley  and  Edwin  Edwards  were  artists.  An  etching  made 
by  Edwards,  in  1861,  of  Whistler  sketching  at  Moulsey,  on  the 
Thames,  near  Hampton  Court,  is  in  the  Mansfield  Collection. 

83  THE  STORM.  (W.  77.)  In  a broad  landscape,  under  a heavily 
clouded  sky,  a man  in  the  foreground  is  hurrying  to  the  right, 
holding  his  hat  in  place  with  his  left  hand.  In  the  right  lower 
corner:  “Whistler,  1861.” 

Dry-point.  Height,  6 yi  inches;  width,  11%  inches. 

Buckingham,  Freer,  and  Mansfield  Collections. 

On  an  impression  in  the  Avery  Collection  from  the  cancelled  plate 
Whistler  wrote:  “The  Storm  (Ridley).” 


53 


whistler’s  etchings  and  dry-points 

'I  84  FISHING.  In  the  foreground  at  the  right,  near  a large  tree  on 
the  border  of  a river,  a man  stands  with  fishing-rod  in  hand,  about 
to  cast.  In  the  stream,  in  front  is  a large  stake  and  near  the  far- 
ther bank  is  a boat  with  a single  mast.  In  the  distance  is  a row  of 
trees,  beyond  a level  meadow,  and  at  the  extreme  left  men  and  a 
horse  are  towing  a boat.  There  are  clouds  in  the  sky.  In  the 
right  lower  corner:  “Whistler,  1861.” 

Etching.  Height,  6 inches;  width,  8 Y%  inches. 

Known  to  the  compiler  only  through  impressions  from  the  can- 
celled plate. 

'I  85  A RIVER  SKETCH.  On  the  bank  at  the  left  a man  wearing  a 
cap  sits  sketching.  In  roughish  water,  flowing  from  a weir,  is  a 
punt  in  which  are  two  men,  one  standing  and  holding  a fishing- 
rod.  Further  out  is  a rowboat  in  which  are  also  two  men.  In 
smoother  water  at  the  left  are  two  small  rowboats,  in  each  of 
which  a man  is  standing.  Beyond,  near  the  center,  is  a boat  in 
which  are  two  people.  The  distant  banks  are  lined  with  trees  and 
buildings.  At  the  extreme  right  is  a building  with  a belfry. 
The  sky  is  cloudy.  Near  the  bottom  of  the  plate,  at  the  right: 
“Whistler.” 

Etching.  Height,  4^8  inches;  width,  6yi  inches. 

Mansfield  Collection.  The  impression  in  this  collection  is  the  only 
one  known  to  the  compiler. 

86  THE  PUNT.  (W.  68.)  A scene  on  the  upper  Thames.  At  the 
right  a man  with  a pipe  in  his  mouth,  and  wearing  a low-crowned 
soft  hat  and  loose  coat,  is  poling  a punt.  From  the  wooded  bank 
across  the  river  a rolling  country  stretches  away,  under  a cloudy 
sky.  In  the  left  lower  corner:  “Whistler.” 

Etching.  Height,  4^  inches;  width,  inches. 

First  State:  In  pure  etching. 

Benedict  and  Vanderbilt  Collections. 


54 


whistler’s  etchings  and  dry-points 

Second  State:  With  dry-point  work  on  the  man’s  hat  and  coat, 
on  the  braces  of  the  boat,  and  on  the  trees  and  in  the  sky. 
Avery  and  Mansfield  Collections. 

Third  State:  With  “London,  Published  December  ist,  1 86 1 , 
by  Day  & Son,  Lith.  to  the  Queen,”  engraved  near  the  center, 
along  the  bottom  of  the  plate,  and  “J.  Whistler”  engraved  at 
the  right. 

Fourth  State:  With  the  signature  removed  and  with  “PI.  7” 
engraved  in  the  right  upper  corner. 

Published  in  1862  in  “Passages  from  Modern  English  Poets, 
illustrated  by  the  Junior  Etching  Club”  (London:  Day  & Son). 
Published  under  the  title:  “The  Angler.” 


1 87  THE  THAMES.  (W.  69.)  A scene  on  the  upper  Thames.  On 
the  bank  at  the  right  a man  wearing  a low-crowned  soft  hat  and 
a loose  coat  is  seated  on  a camp-stool,  sketching.  On  the  river  are 
a man  and  a woman  in  a rowboat.  On  the  other  bank  is  a boat- 
house near  large  trees,  beyond  which  there  is  high  ground.  There 
are  clouds  in  the  sky.  Near  the  right  lower  corner:  “Whistler.” 
Etching.  Height,  43^  inches;  width,  6l/Z  inches. 

First  State:  In  pure  etching. 

Benedict  Collection. 

Second  State:  With  dry-point  work  on  the  man’s  coat-collar 
and  on  the  plants  in  the  foreground  and  on  the  trees. 

Avery  and  Mansfield  Collections.  On  the  impression  in  the 
Avery  Collection  Whistler  wrote:  “The  Thames.” 

Third  State:  With  “London,  Published  December  ist,  1861, 
by  Day  & Son,  Lith.  to  the  Queen,”  engraved  along  the  bottom 
of  the  plate,  and  “J.  Whistler”  engraved  at  the  right  of  the 
signature. 

Fourth  State:  With  “PI.  45”  engraved  in  the  right  upper 
corner. 


55 


1 


whistler’s  etchings  and  dry-points 


Published  in  1862  in  “Passages  from  Modern  English  Poets, 
illustrated  by  the  Junior  Etching  Club”  (London:  Day  & Son). 
Published  under  the  title:  “A  River  Scene.” 

Catalogued  by  Wedmore  as  “Sketching.” 

88  ROSS  WINANS.  (W.  76.)  A three-quarter  length  portrait  of 
a young  man  with  short  curly  hair  and  with  a moustache,  who 
sits  facing  toward  the  right,  playing  an  accordion.  On  a table 
at  the  right  are  a violin  and  bow.  There  is  considerable  shading 
on  the  plate. 

Etching.  Height,  9^  inches;  width,  7^  inches. 

First  State:  Toward  the  right  upper  corner:  “Whistler,”  firmly 
written;  nearer  the  corner:  “Whistler,”  faintly  written. 
Mansfield  Collection. 

Second  State:  The  faintly-written  signature  has  been  removed. 
Horizontal  lines  are  added  in  dry-point  on  the  upper  part  of  the 
sleeve  of  the  right  arm  and  along  the  lower  edge  of  the  sleeve, 
and  below  the  elbow. 

Avery  Collection.  On  the  impression  in  this  collection  Whist- 
ler wrote:  “Ross  Winans”  and  “London.” 

89  CHELSEA  WHARF.  (W.  81.)  A number  of  Thames  barges, 
some  with  furled  sails  and  one  with  a jigger,  lie  beached  near  a 
group  of  warehouses.  On  the  nearer  buildings  there  are  the  signs : 
“Chelsea  Wharf,”  “Thomas  Weeks,  Chelsea  Wharf,  Roman  Ce- 
ment and  Lime”  and  “Chelsea  Wharf,  Clover,  Hay  and  Straw.” 
Men  are  unloading  the  barges  with  the  aid  of  carts  and  horses. 
In  the  right  lower  corner:  “Whistler,  1863.” 

Etching.  Height,  3%  inches;  width,  7^  inches. 

First  State:  With  comparatively  slight  shading  on  the  sails 
and  on  the  sides  of  the  boat,  and  with  only  the  signature  and 
date  in  the  right  lower  corner. 

Freer  Collection. 


56 


whistler’s  etchings  and  dry-points 

Second  State:  With  additional  work  on  the  sails  and  sides  of 
the  boats  and  with  a conventional  butterfly,  in  outline,  added 
in  dry-point  above  the  signature  and  date. 

On  the  impression  of  this  state  in  the  Avery  Collection  Whist- 
ler wrote:  “Chelsea  Wharf  ” and  “ 1873  ” — the  date,  apparently, 
when  the  changes  were  made  and  the  butterfly  was  added. 

90  BATTERSEA  REACH.  In  front,  on  the  flat  shore  of  the  Thames, 
are  a number  of  small  figures,  and  near  a float  are  men  about  to  go 
out  in  a rowboat.  Beyond  there  are  other  rowboats,  and  out  in 
the  stream  there  are  barges  under  sail.  On  the  opposite  bank, 
under  a cloudy  sky,  are  a church  and  a row  of  buildings,  some  with 
tall  chimneys.  In  the  distance,  at  the  left,  an  iron  bridge  spans 
the  stream.  In  the  right  lower  corner:  “Whistler,  1863.” 

Etching.  Height,  5 inches;  width,  8y&  inches. 

Known  to  the  compiler  only  through  impressions  from  the  can- 
celled plate. 

91  AMSTERDAM.  (W.  82.)  Across  a wide  expanse  of  water,  on 
which  are  a number  of  Dutch  sailing-boats,  two  with  sails  partly 
raised,  appear  the  buildings  and  shipping  of  Amsterdam,  under 
a cloudy  sky.  In  the  right  lower  corner:  “Whistler,  1863,  a Am- 
sterdam— Tolhuis.” 

Etching.  Height,  5%  inches;  width,  8%  inches. 

First  State:  The  clouds,  strongly  etched,  fill  the  sky. 

Avery,  Freer,  Mansfield,  and  Scholle  Collections.  On  the  im- 
pression of  this  state  in  the  Avery  Collection  Mr.  Avery  wrote: 
“With  Haden.” 

Second  State:  The  upper  parts  of  the  taller  masts  and  nearly 
all  of  the  lines  in  the  sky  have  been  removed. 

Third  State:  The  upper  parts  of  the  taller  masts  have  been 
redrawn,  and  the  clouds  are  now  expressed  by  fewer  lines,  in 
dry-point. 


57 


whistler’s  etchings  and  dry-points 

Fourth  State:  Four  strong  lines  and  several  fine  lines  are 
added  in  dry-point  near  the  left  upper  corner.  The  butterfly, 
shaded,  is  added  in  dry-point  at  the  left  of  the  signature. 

The  addition  of  the  butterfly  indicates  that  probably  the  changes 
in  the  last  three  states  were  made  as  late  as  1873. 

92  WEARY.  (W.  83.)  A young  woman  with  long  flowing  hair  sits 
facing  to  the  right,  her  head  resting  against  the  back  of  a large 
easy-chair.  Near  the  bottom  of  the  plate  appears  the  head  of  a 
girl,  in  reverse.  There  is  shading  in  the  background. 

Dry-point.  Height,  7^  inches;  width,  5 yi  inches. 

Another  portrait  of  the  model  for  “ The  White  Girl.” 

First  State:  There  is  no  signature.  There  is  a clear  space, 
about  a quarter  of  an  inch  wide,  along  the  left  edge  of  the  lower 
half  of  the  plate. 

Avery  and  Freer  Collections. 

Second  State:  With  “Whistler,  63”  added  in  the  left  lower 
corner  and  vertical  lines  added  at  the  left  of  the  figure,  along 
the  edge  of  the  plate. 

On  the  impression  of  this  state  in  the  Avery  Collection  Whistler 
wrote:  “Weary.” 

Third  State:  There  is  additional  work  on  the  hair.  The  out- 
lines of  the  face  are  heavier  and  its  expression  is  changed. 
Work  is  added  on  the  back  of  the  chair,  further  defining  its 
shape,  and  in  the  background  at  the  right,  deepening  its  effect. 

Exhibited  at  the  Royal  Academy  in  1863,  as  “Weary.” 

93  THE  TOILET.  In  the  right  upper  corner  of  the  plate  are  the 
head  and  shoulders  of  a woman  facing  to  the  left,  arranging  the 
long  flowing  hair  of  a woman,  also  turned  toward  the  left,  whose 
features  are  not  expressed.  There  is  shading  in  the  background. 
Near  the  right  lower  corner:  “Whistler,  1863.” 

Dry-point.  Height,  &/&  inches;  width,  6 inches. 

58 


whistler’s  etchings  and  dry-points 

Known  to  the  compiler  only  through  impressions  from  the  can- 
celled plate. 

94  SHIPPING  AT  LIVERPOOL.  (W.  84.)  Upon  the  deck  of  a 
vessel  in  front  four  men  are  handling  large  sacks  and  a fifth  man  is 
on  his  knees,  apparently  calking  seams.  Stays  from  the  bulwarks 
reach  the  mast  just  above  the  only  yard  visible.  In  the  distance 
there  is  a line  of  shipping  at  the  right  and  a row  of  sheds  at  the 
left.  In  the  sky,  below  the  yard,  are  slight  indications  of  clouds. 
On  the  bulwark,  near  the  right  edge  of  the  plate:  “ Whistler,  1867.” 
Etching.  Height,  9 inches;  width,  6 inches. 

First  State:  The  space  of  sky  seen  between  the  mast  and  the 
stays  on  the  right  is  clear. 

Mansfield  Collection. 

Second  State:  Numerous  diagonal  lines  and  a few  horizontal 
lines,  all  in  dry-point,  are  added  in  the  sky,  between  the  mast 
and  the  stays  on  the  right.  Horizontal  lines  also  cross  the  ship- 
ping in  the  background. 

Avery  Collection.  On  the  impression  in  this  collection  Whist- 
ler wrote:  “Liverpool.” 

95  SPEKE  HALL  No.  1.  (W.  86.)  A broad  avenue  leads  to  a 

long  half-timbered  house  with  five  front  gables,  seen  beyond  tall 
leafless  trees. 

Etching  and  Dry-point.  Height,  8 inches;  width,  5 inches. 
Speke  Hall  is  a famous  old  house  on  Speke  Manor  near  Liverpool. 
During  the  time  Whistler  was  in  relations  with  F.  R.  Leyland  it 
belonged  to  a ward  of  Leyland. 

First  State:  The  house-front  below  the  two  gables  at  the  left 
is  blank,  except  for  slight  indications  of  a doorway.  In  the 
foreground  at  the  left  stands  the  figure,  in  dry-point,  of  a woman 
wearing  a hat  with  wide  brim  and  high  crown.  She  holds  up 
her  skirt  with  her  left  hand  and  her  head  is  turned  away.  There 


59 


whistler’s  etchings  and  dry-points 

are  clouds  in  the  sky.  Near  the  right  lower  corner:  “Whistler, 
1870,  Speke  Hall.” 

Avery,  Benedict,  and  Mansfield  Collections. 

Second  State:  Short  diagonal  lines  are  added  on  the  woman’s 
figure,  which  has  become  generally  indistinct. 

Third  State:  The  figure  has  been  removed,  and  the  space 
where  it  stood  is  blank,  except  for  faint  traces  of  previous  work. 

Fourth  State:  In  place  of  the  earlier  figure  is  the  smaller 
figure,  also  in  dry-point,  of  another  woman,  seen  in  profile, 
wearing  a hat,  facing  to  the  left  and  looking  down,  her  left  arm 
by  her  side. 

Fifth  State:  The  house-front,  except  between  two  trees  at 
the  extreme  left,  is  virtually  finished,  showing  a large  archway 
where  the  doorway  was  indicated.  Where  the  earlier  figures 
were,  stands  the  figure,  in  dry-point,  of  a young  woman,  seen 
in  profile,  wearing  a jacket  and  a hat  with  a feather.  She 
faces  to  the  left  and  is  looking  down,  and  with  her  left  hand 
holds  up  her  skirt. 

Sixth  State:  There  are  indications  of  timber- work  in  the  gable 
between  the  two  trees  at  the  extreme  left.  The  crown  of  the 
young  woman’s  hat  has  been  rounded  and  the  feather  removed. 
Dick  Collection. 

Seventh  State:  There  is  added  work  on  the  building,  trees  and 
figure.  The  butterfly,  shaded,  is  at  the  left  of  the  figure. 

On  the  impression  of  this  state  in  the  Avery  Collection  Whistler 
wrote:  “Speke  Hall.” 

Eighth  State:  The  outline  of  the  young  woman’s  back  is 
changed  by  a convex  line.  There  is  additional  work  on  the  hat 
and  the  jacket.  The  drapery  of  the  skirt  is  made  lighter. 
Mansfield  Collection. 

Ninth  State:  The  figure  and  the  butterfly  have  been  removed, 
and  all  traces  of  the  clouds  have  disappeared. 

60 


whistler’s  etchings  and  dry-points 

96  CHELSEA  BRIDGE  AND  CHURCH.  (W.  85.)  At  the  left, 
on  the  beach  of  the  Thames,  a rowboat  and  two  barges  lie  near  a 
tall  post.  Conspicuous  above  buildings  beyond  is  a church  tower 
surmounted  by  a flagpole.  In  the  distance  a bridge  crosses  the 
river,  under  a cloudy  sky.  The  plate  is  unsigned. 

Dry-point.  Height,  4 inches;  width,  inches. 

First  State:  The  river  is  clear  of  craft,  except  a sailboat  near 
the  bridge.  There  is  a blank  space  above  the  barge  at  the  ex- 
treme left.  The  building  at  the  right  of  the  tall  post  is  slightly 
shaded. 

Avery  and  Mansfield  Collections.  Under  the  impression  of  this 
state  in  the  Mansfield  Collection  is  written:  “This  was  the  first 
proof  taken  from  this  plate  and  was  printed  by  the  artist  him- 
self May  6,  1871.  F.  S.  E.”  Presumably  written  by  Mr.  F.  S. 
Ellis, of  Ellis  & Green,  the  publishers  of  the  “Sixteen  Etchings.” 

Second  State:  The  suggestion  of  a roof  appears  across  the 
space  just  above  the  barge  at  the  left,  and  shading  is  added 
on  the  building  at  the  right  of  the  tall  post. 

Avery  Collection.  On  the  impression  in  this  collection  a tree 
is  drawn  in  charcoal  in  the  right  lower  corner,  and  the  impres- 
sion is  otherwise  drawn  upon. 

Third  State:  On  the  river,  at  the  right,  is  a barge  with  flap- 
ping white  sail,  slightly  reflected.  Vertical  lines  are  added  in 
the  shading  of  the  barges  on  the  shore.  The  space  above  the 
barge  at  the  left  is  filled  in,  and  there  is  additional  shading  on 
the  buildings. 

Avery  Collection.  On  the  impression  of  this  state  in  this  col- 
lection Whistler  wrote:  “Chelsea  Church.” 

Fourth  State:  Lines  are  added  on  the  sail  of  the  barge,  and 
its  reflection  is  lengthened.  Fine  lines  change  the  aspect  of  the 
clouds  at  the  right,  and  a flock  of  birds  appears  above  the  build- 
ings near  the  center. 

Mansfield  Collection. 


61 


whistler’s  etchings  and  dry-points 


Fifth  State:  Diagonal  lines  are  added  on  the  sail  of  the  barge, 
and  strong  vertical  lines  in  its  reflection.  Strong  horizontal 
lines  are  added  in  the  sky,  at  the  right  of  the  church  tower  and 
above  the  bridge. 

In  this  state  (in  some  of  the  sets),  one  of  the  “Sixteen  Etchings.” 

Sixth  State:  The  sail  of  the  barge  is  enlarged  and  strongly 
outlined.  Lines  are  added  in  the  sky  and  in  the  shading  of  the 
boats  on  the  shore. 

In  this  state  (in  some  of  the  sets),  one  of  the  “Sixteen  Etchings.” 
Published  as  “Chelsea  Bridge  and  Church.” 

97  “THE  SWAN,”  CHELSEA.  (W.  89.)  A row  of  irregular  build- 
ings, seen  across  a street  in  which  are  three  men  and  a horse  and 
cart.  The  butterfly,  in  outline,  is  on  a wall  at  the  extreme  right. 
Etching.  Height,  2 y%  inches;  width,  y/&  inches. 

On  the  impression  in  the  Avery  Collection  Whistler  wrote:  “72” 
and  “The  Swan — Chelsea.” 

Mr.  Wedmore  says  that  “The  Swan”  was  a brewery. 

98  FOSCO.  (W.  90.)  A nude  male  model  with  wavy  hair  stands 
looking  toward  the  front,  his  body  turned  to  the  left,  his  right 
foot  advanced,  and  his  left  hand  holding  a long  staff.  There  is 
shading  in  the  background,  chiefly  at  the  left  of  the  figure.  The 
plate  is  unsigned. 

Dry-point.  Height,  8^8  inches;  width,  5X  inches. 

On  the  impression  in  the  Avery  Collection  Whistler  wrote:  “Dry- 
point — 72”  and  “Fosco.” 

Exhibited  in  1872,  under  the  title  of  “An  Etching,”  at  the  Fifth 
Exhibition  of  the  Society  of  French  Artists,  then  under  the  man- 
agement of  M.  Dechamps,  at  No.  168  New  Bond  Street,  London. 

99  WHISTLER’S  MOTHER.  (W.  88.)  An  elderly  lady  wearing 
a cap  stands  turning  to  the  right,  but  looking  toward  the  front, 
her  right  arm  by  her  side,  her  left  hand  extended  as  if  resting  on 

62 


whistler’s  etchings  and  dry-points 


a railing.  The  slender  figure  is  expressed  by  a few  simple  lines. 
The  plate  is  unsigned. 

Dry-point.  Height,  9^  inches;  width,  6 inches. 

Freer  Collection.  The  impression  in  this  collection,  formerly  in 
the  Menpes  Collection,  is  perhaps  unique.  The  slenderness  of 
the  figure  is  obscured  by  the  peculiar  inking  of  the  plate,  which 
gives  the  appearance  of  a full  skirt. 

Mrs.  Whistler  died  at  Hastings  in  1881. 

100  THE  BEACH.  (W.  101.)  In  the  foreground  are  two  towels 
spread  upon  the  beach;  others  are  drying  in  the  breeze,  on  lines 
held  up  by  poles.  Beyond,  at  the  right,  are  low  buildings,  near 
which  are  a man  and  a horse.  A roughish  sea  stretches  to  the 
horizon,  under  a clouded  sky.  The  plate  is  unsigned. 

Dry-point.  Height,  6l/&  inches;  width,  9 inches. 

First  State:  The  more  conspicuous  buildings  and  the  towels 
on  the  lines  are  indicated  mainly  in  outline. 

Avery  and  Mansfield  Collections.  On  the  impression  in  the 
Avery  Collection  Whistler  wrote:  “Hastings”  and  “ 1873.”  Mr. 
Avery  added:  “His  mother  there  at  the  time.” 

Second  State:  The  buildings,  the  towels  on  the  lines,  and  the 
man  and  horse  are  strongly  shaded. 

101  SKETCHES  OF  HEADS.  (Sup.  366.)  Scattered  over  the  plate 
are  sketches  of  five  heads  of  women,  one  of  them  well  defined, 
a sketch  of  the  head  of  a boy,  well  defined,  and  slight  suggestions 
of  five  other  heads,  besides  the  sketch  of  a woman  seated. 
Dry-point.  Height,  6 inches;  width,  8 % inches. 

Freer  Collection. 

102  PORTRAIT  SKETCHES.  At  the  right  is  the  nearly  full-length 
portrait  of  a man  with  moustache  and  full  beard,  standing  with 
his  left  hand  thrust  in  a pocket  of  his  coat.  At  the  left,  near  the 

63 


whistler’s  etchings  and  dry-points 

top  of  the  plate,  is  the  head  of  a man  with  moustache  and  pointed 
beard.  Near  the  bottom  of  the  plate  is  the  head  of  Whistler,  in 
reverse.  Between  these  is  a slight  suggestion  of  the  head  of  a 
man,  in  reverse.  The  plate  is  unsigned. 

Dry-point.  Height,  \i%  inches;  width,  6J4  inches. 

Known  to  the  compiler  only  through  impressions  from  the  can- 
celled plate. 

103  F.  R.  LEYLAND.  (W.  93.)  A full-length  portrait  of  a man 
with  moustache  and  pointed  beard,  and  wearing  evening  dress, 
who  stands  facing  front,  with  his  left  hand  upon  his  hip  and  what 
may  be  an  outer  coat  hanging  from  his  right  shoulder.  There  is 
shading  in  the  background.  The  butterfly,  in  outline,  is  in  the 
shading  at  the  right  of  the  figure. 

Etching.  Height,  inches;  width,  6^  inches. 

F.  R.  Leyland  was  a wealthy  steamship-owner,  in  whose  house 
in  London  was  the  famous  “ Peacock  Room,”  decorated  by  Whist- 
ler, now  included  in  the  Freer  gift  to  the  Smithsonian  Institution. 

First  State:  The  shading  in  the  background  is  largely  in  short 
vertical  lines,  supplemented  by  numerous  diagonal  lines  about 
the  head  and  shoulders  and  at  the  left  of  the  figure. 

Mansfield  and  Vanderbilt  Collections. 

Second  State:  Numerous  strong  lines  in  dry-point  are  added 
in  the  background,  about  the  head  and  the  upper  part  of  the 
figure. 

Freer  Collection. 

104  MADAME  LEYLAND.  (W.  227.)  The  portrait  of  an  elderly 
lady,  seated  in  a large  armchair  and  facing  front.  A light  shawl 
is  thrown  over  her  shoulders  and  she  wears  a lace  cap.  Her  left 
arm  rests  upon  the  arm  of  the  chair,  and  her  right  hand  is  placed 
lightly  on  the  other.  There  is  shading  in  the  background.  The 
butterfly,  in  outline,  is  below  the  arm  of  the  chair,  at  the  right. 

64 


whistler’s  etchings  and  dry-points 

Dry-point.  Height,  8 inches;  width,  5 yi  inches. 

Madame  Leyland  was  the  mother  of  F.  R.  Leyland. 

First  State:  The  shading  above  the  head  and  at  the  left  of  the 
head  and  figure  is  in  vertical  lines. 

Freer  Collection. 

Second  State:  Diagonal  lines,  running  from  left  to  right,  are 
added  in  the  shading  at  the  left  of  the  head. 

Mansfield  Collection. 

Third  State:  The  face  has  been  virtually  redrawn,  and  with 
material  change  in  the  expression.  Many  vertical  lines  are  added 
in  the  background,  at  the  upper  edge  of  the  plate.  Six  short 
diagonal  lines  are  added  in  the  shading  at  the  right,  and  nu- 
merous diagonal  lines  in  the  shading  at  the  left. 

Catalogued  by  Wedmore  as  “ F.  R.  Leyland’s  Mother.” 

THE  VELVET  DRESS.  (W.  91.)  A lady  stands  looking  to 
the  left,  her  left  arm  by  her  side.  She  wears  a ruff,  and  her  skirt 
falls  in  heavy  folds,  indicated  by  various  strong  lines.  There  is 
shading  in  the  background.  The  butterfly,  in  outline,  is  at  the 
left,  below  the  middle  of  the  plate. 

Dry-point.  Height,  9 yi  inches;  width,  6yi  inches. 

First  State:  The  shading  in  the  background  is  expressed  by 
vertical  and  diagonal  lines  about  the  head,  and  vertical  lines  in 
the  upper  half  of  the  plate,  each  side  of  the  figure. 

Mansfield  and  Vanderbilt  Collections. 

Second  State:  The  face  has  been  redrawn,  with  change  of  ex- 
pression. Strong  vertical  lines  are  added  in  the  background, 
each  side  of  the  figure,  those  at  the  left  extending  below  the 
butterfly. 

Third  State:  Through  additional  work,  the  expression  of  the 
face  is  further  changed.  Long  vertical  lines  are  added  in  the 
background,  each  side  of  the  figure. 

65 


whistler’s  etchings  and  dry-points 

Fourth  State:  Vertical  lines  deepen  the  shading  in  the  back- 
ground. Short  horizontal  lines,  added  below  the  butterfly,  give 
the  shading  the  appearance  of  a curtain. 

On  the  impression  of  this  state  in  the  Avery  Collection  Whist- 
ler wrote:  “The  Velvet  Dress’’  and  “73.” 

Fifth  State:  The  face  and  the  figure  have  been  almost  com- 
pletely redrawn.  The  expression  of  the  face  has  been  entirely 
changed.  The  lady  now  wears  a small  hat  and  a heavy  skirt, 
trailing  slightly.  She  still  stands  looking  to  the  left,  her  left 
arm  by  her  side.  There  is  heavy  shading  in  the  background. 
There  is  no  longer  the  appearance  of  a curtain. 

Freer  and  Mansfield  Collections.  On  the  impression  in  the 
Freer  Collection  Whistler  wrote:  “Mrs.  Leyland.” 

106  THE  LITTLE  VELVET  DRESS.  (W.  92.)  A lady  wearing 
a dark  heavy  dress,  with  a ruffle  about  the  neck  and  down  the 
front  of  the  waist,  stands  facing  to  the  right,  her  right  hand  held 
well  in  front  of  her.  There  is  shading  in  the  background.  The 
butterfly,  in  outline,  is  at  the  right,  above  the  middle  of  the  plate. 
Dry-point.  Height,  inches;  width,  4%"  inches. 

First  State:  In  the  background  at  the  right  there  is  a clear 
space  next  the  lady’s  waist. 

Mansfield  Collection. 

Second  State:  Short  vertical  lines  are  added  in  the  space  in 
front  of  the  lady’s  waist,  and  numerous  fine  lines  in  the  back- 
ground at  the  left. 

Avery,  Freer,  and  Vanderbilt  Collections.  On  the  impression 
in  the  Avery  Collection  Whistler  wrote:  “The  Little  Velvet 
Dress”  and  “73.” 

107  FANNY  LEYLAND.  (W.  94.)  A young  girl  with  long  wavy 
hair,  bound  back,  sits  facing  to  the  left  in  a chair  of  slender  frame- 
work, her  hands  resting  in  her  lap.  There  is  shading  in  the  back- 

66 


whistler’s  etchings  and  dry-points 


ground.  Toward  the  left  upper  corner:  “Fanny  Leyland.” 
Dry-point.  Height,  7^  inches;  width,  5X  inches. 

Fanny  Leyland  was  a daughter  of  F.  R.  Leyland. 

First  State:  One  foot,  wearing  a slipper,  appears  just  be- 
neath the  skirt.  There  are  also  faint  outlines  of  that  foot 
differently  drawn,  besides  slight  indications  of  the  other  foot. 
There  is  no  butterfly. 

Second  State:  Traces  of  one  of  the  feet  originally  drawn  have 
been  removed.  The  indications  of  a foot  below  the  slipper  re- 
main. The  butterfly,  in  outline,  is  above  the  middle  of  the 
plate,  near  the  left  edge. 

Avery  and  Mansfield  Collections.  On  the  impression  in  the 
Avery  Collection  Whistler  wrote:  “73.” 

Third  State:  The  skirt  is  lengthened  in  front  by  two  strong 
lines  drawn  at  an  angle.  Short  horizontal  lines  are  added  be- 
low the  skirt.  Vertical  lines  are  added  below  the  chair-seat. 

Fourth  State:  The  foot  just  beneath  the  skirt  has  been  erased 
and  there  are  diagonal  lines  in  its  place.  Additional  work  ap- 
pears on  the  lower  part  of  the  skirt.  There  are  more  vertical 
lines  below  the  chair-seat,  and  vertical  lines  are  added  at  the 
right,  parallel  with  the  back  of  the  chair. 

Fifth  State:  Short  diagonal  lines,  running  from  right  to  left, 
are  added  on  the  skirt,  at  the  right  of  the  bend  of  the  knee,  and 
earlier  lines  on  the  dress  are  strengthened. 

Sixth  State:  There  is  more  work  upon  the  hair.  Short  diag- 
onal lines  are  added  on  the  upper  part  of  the  figure,  and  strong 
lines  on  the  lower  part  of  the  skirt.  Diagonal  lines  are  added 
along  the  chair-seat. 


08  ELINOR  LEYLAND.  (W.  95.)  A young  girl  wearing  a short 
frock  with  flounces  stands  facing  front,  with  her  arms  akimbo. 
There  is  much  shading  in  the  background. 

67 


WHISTLER  S ETCHINGS  AND  DRY-POINTS 


Dry-point.  Height,  8 yi  inches;  width,  5 % inches. 

Elinor  Leyland  was  a younger  daughter  of  F.  R.  Leyland. 

First  State:  The  legs  are  not  fully  drawn.  The  shading  in 
the  background  is  chiefly  at  the  left  of  the  figure.  There  is  no 
butterfly. 

Mansfield  Collection. 

Second  State:  Many  vertical  lines  are  added  in  the  back- 
ground, conspicuously  in  the  upper  part,  at  the  right.  The 
butterfly,  in  outline,  is  about  the  middle  of  the  plate,  near 
the  right  edge. 

Benedict  Collection. 

Third  State:  Longer  vertical  lines  are  added  in  the  back- 
ground, at  the  left,  especially  near  the  edge  of  the  plate. 
Avery  Collection.  On  the  impression  in  this  collection  Whist- 
ler wrote:  “Elinor  Leyland”  and  “1873.” 

Fourth  State:  The  legs  have  lost  all  semblance  of  form. 
Heavy  vertical  lines  are  added  at  the  left  of  the  figure,  and 
heavy  diagonal  lines  below  the  skirt.  Short  horizontal  lines 
are  added  in  the  background  at  the  right,  below  the  elbow.  The 
butterfly  is  partly  shaded. 

Fifth  State:  The  legs  have  been  redrawn.  Numerous  diag- 
onal lines  are  added  in  the  background,  each  side  of  the  head 
and  along  the  right  arm. 

Sixth  State:  Six  short  horizontal  lines  are  added  in  the  back- 
ground, at  the  right  of  the  lower  part  of  the  skirt,  and  numer- 
ous short  lines  are  added  along  the  lower  edge  of  the  skirt. 

Seventh  State:  The  head  has  been  redrawn.  Numerous  diag- 
onal lines  are  added  in  the  background,  each  side  of  the  head 
and  along  the  right  shoulder  and  arm. 


FLORENCE  LEYLAND.  (W.  96.)  A young  girl  with  flow- 
ing hair,  cut  short  across  her  forehead,  stands  facing  front,  with 

68 


whistler’s  etchings  and  dry-points 

her  right  foot  advanced,  and  holding  a hoop  with  her  right  hand. 
There  is  shading  in  the  background.  The  butterfly  is  toward 
the  bottom  of  the  plate,  near  the  right  edge. 

Dry-point.  Height,  8 yi  inches;  width,  5 inches. 

Florence  Leyland  was  the  youngest  daughter  of  F.  R.  Leyland. 

First  State:  The  left  eye  is  not  fully  defined.  The  shading 
in  the  background  is  chiefly  at  the  left  of  the  figure  and  in  ver- 
tical lines,  which  are  crossed,  below  the  middle  of  the  plate,  by 
numerous  diagonal  lines.  Between  the  shading  and  the  right 
ankle  is  a clear  space.  The  butterfly  is  in  outline. 
Buckingham  Collection. 

Second  State:  The  left  eye  is  now  more  fully  defined  and  the 
expression  of  the  face  is  somewhat  changed.  The  space  at  the 
left  of  the  right  ankle  is  filled  with  fine  lines.  Many  vertical 
lines  are  added  in  the  background  at  the  left.  The  butterfly 
remains  in  outline. 

Avery  and  Mansfield  Collections.  On  the  impression  in  the 
Avery  Collection  Whistler  wrote:  “Florence  Leyland”  and 
“73” 

Third  State:  Vertical  lines  are  added  in  the  background, 
conspicuously  along  the  upper  edge  of  the  plate.  The  words 
“I  am  Flo”  are  added  at  the  right,  in  the  upper  half  of  the 
plate.  The  butterfly  remains  in  outline. 

Fourth  State:  The  legs  have  been  almost  wholly  burnished 
out.  Diagonal  lines  are  added  in  the  background,  about  the 
head.  The  butterfly  is  shaded. 

Fifth  State:  The  legs  have  been  redrawn  and  are  well  de- 
fined. Numerous  diagonal  lines  are  added  in  the  background, 
at  the  left  of  the  figure.  At  the  right  numerous  vertical  lines 
are  added,  suggesting  a curtain. 

Sixth  State:  There  is  additional  work  on  the  legs  and  feet. 
Lines  are  added  extensively  throughout  the  background. 

69 


whistler’s  etchings  and  dry-points 

Seventh  State:  Short  heavy  lines  are  added  in  the  back- 
ground at  the  left,  more  noticeably  above  the  hoop. 

Eighth  State:  Heavy  broken  outlines  express  the  shape  of 
the  right  leg  and  foot.  Many  fine  diagonal  lines  are  added 
in  the  background  at  the  left. 

i io  READING  A BOOK.  (W.  97.)  A young  woman  seated  in  a 
chair,  with  her  right  leg  crossed  over  her  left  knee,  faces  to  the  left 
and  holds  a book  in  her  left  hand.  There  is  shading  in  the  back- 
ground. The  butterfly,  in  outline,  is  above  the  middle  of  the 
plate,  near  the  left  edge. 

Dry-point.  Height,  4%  inches;  width,  3 inches. 

Done  about  1873. 

First  State:  The  features  are  indistinct  and  the  nose  is  re- 
trousse. 

Second  State:  The  features  have  been  redrawn  and  made 
smaller  and  more  distinct,  and  the  nose  is  now  straight.  A 
number  of  vertical  lines  and  two  horizontal  lines  are  added 
in  the  background,  below  the  butterfly. 

in  TATTING.  (W.  98.)  A young  woman  wearing  a round  hat  sits 
turned  to  the  right,  but  looking  toward  the  front,  near  a small 
table,  her  hands  raised  and  holding  her  work.  The  plate  is  un- 
signed. 

Dry-point.  Height,  5 inches;  width,  2%  inches. 

Done  about  1873.  Published  in  1880,  by  the  Messrs.  Dowdes- 
well  & Dowdeswells,  London. 

1 12  THE  MUFF.  (W.  126.)  A lady  seated  facing  to  the  right, 
wearing  a hat  trimmed  with  feathers  and  a jacket  edged  with 
fur,  holds  in  her  lap  a muff  upon  which  rests  her  right  hand. 
There  is  shading  in  the  background. 

Dry-point.  Height,  4%  inches;  width,  2%  inches. 


70 


whistler’s  etchings  and  dry-points 

First  State:  Short  horizontal  lines  at  the  left  extend  along 
the  contour  of  the  lady’s  figure.  There  is  no  butterfly. 
Benedict  Collection. 

Second  State:  Horizontal  lines  at  the  left  now  extend  to  the 
edge  of  the  plate.  Numerous  fine  diagonal  lines  are  added  in 
the  shading  at  the  right.  The  butterfly,  shaded  and  obscured, 
is  below  the  middle  of  the  plate,  at  the  right  edge. 

Benedict  and  Freer  Collections. 

Third  State:  The  lines  of  shading  in  the  upper  part  of  the 
plate  at  the  left  are  connected  and  strengthened  and  increased 
in  number.  Numerous  short  diagonal  lines  are  added  in  the 
shading,  each  side  of  the  figure. 


MAUDE,  STANDING.  (W.  99.)  A tall  slender  young  woman 
wearing  a hat  with  feathers  stands  facing  to  the  left,  but  turn- 
ing away. 

Dry-point  and  Etching.  Height,  8%  inches;  width,  5%  inches. 

First  State:  She  wears  a light  tippet.  Her  left  hand  seems 
to  be  holding  up  her  skirt,  which  scarcely  trails.  There  are  a 
few  slight  lines  in  the  background.  There  is  no  butterfly. 
Scholle  Collection. 

Second  State:  The  tippet  has  been  removed  and  the  lines  in 
the  background  have  almost  wholly  disappeared.  Lines  are 
added  on  the  face  and  figure.  There  is  no  butterfly. 

Benedict  Collection. 

Third  State:  In  place  of  the  tippet  is  a small  close-fitting 
cape.  The  face  has  been  redrawn.  The  right  arm  is  very  con- 
fusedly expressed.  The  skirt  is  shortened.  A few  verticallines 
and  some  short  horizontal  lines  are  added  in  the  background. 
There  is  no  butterfly. 

Fourth  State:  The  cape  has  been  removed.  The  skirt  has 
been  redrawn  throughout  and  lengthened.  Lines  are  added 


whistler’s  etchings  and  dry-points 

on  the  face.  The  right  arm  is  bent  at  a sharp  angle  and  is 
well  defined.  Numerous  lines  indicate  a curtain  in  the  back- 
ground. There  is  no  butterfly. 

Benedict  Collection. 

Fifth  State:  The  lines  on  the  face  have  been  removed,  and 
its  expression  is  changed.  A puff  is  added  on  the  right  sleeve, 
at  the  shoulder.  Strong  dry-point  lines  are  added  at  the  bot- 
tom of  the  train.  There  is  no  butterfly. 

Sixth  State:  The  figure  has  been  burnished  out  and  redrawn. 
The  arms  are  but  slightly  indicated.  A short  fur  tippet  cov- 
ers the  shoulders.  The  train  of  the  skirt  extends  nearly  to 
the  bottom  of  the  plate.  Some  vertical  lines  and  numerous 
fine  diagonal  lines  are  added  in  the  background,  each  side  of 
the  figure.  A space  about  an  inch  broad  is  left  nearly  blank 
along  the  left  edge  of  the  plate.  The  butterfly,  shaded,  is 
at  the  right  of  the  figure,  below  the  middle  of  the  plate. 
Coolidge  Collection. 

Seventh  State:  The  right  arm  has  been  vaguely  redrawn, 
traces  of  the  arm  as  previously  drawn  remaining.  The  form 
of  the  left  arm  is  changed.  The  right  outline  of  the  figure  is 
strongly  marked.  A few  vertical  lines  are  added  in  the  space 
along  the  left  edge  of  the  plate. 

Mansfield  Collection. 

Eighth  State:  The  right  arm  has  been  again  changed  and  is 
indistinct.  Numerous  short  diagonal  lines,  running  parallel 
from  left  to  right,  are  added  in  the  background  at  the  left  of 
the  figure.  Numerous  vertical  lines  are  added  in  the  back- 
ground at  the  right. 

Ninth  State:  The  arms  have  been  redrawn.  There  is  much 
additional  work  on  the  dress.  Many  lines,  including  the  short 
parallel  diagonal  lines,  have  been  removed.  In  their  place  is 
new  work  in  the  background,  the  shading  of  which  is  still  com- 
paratively slight. 


72 


whistler’s  etchings  and  dry-points 

Tenth  State:  There  is  much  additional  work  on  the  skirt. 
Strong  vertical  lines  are  added  in  the  background  at  the  left, 
along  the  skirt,  above  the  knee.  Vertical  lines  are  added  also 
at  the  right,  between  the  skirt  and  the  butterfly  and  near  the 
bottom  of  the  skirt. 

Eleventh  State:  The  face  and  figure  have  been  redrawn,  and 
the  plate  has  been  reworked  throughout  in  etching.  The  lines 
of  the  next  preceding  state,  on  the  skirt  and  in  the  background, 
have  been  generally  followed.  The  toe  of  the  projecting  foot 
is  indistinct. 

Twelfth  State:  The  face  has  been  redrawn  and  its  expres- 
sion is  changed.  Both  arms  and  many  of  the  lines  on  the  skirt 
have  been  again  burnished  out.  The  left  arm  has  been  re- 
drawn, with  the  hand  extended  to  the  back  of  the  skirt.  The 
right  arm  is  merely  indicated.  The  toe  of  the  projecting  foot 
has  been  redrawn  in  dry-point.  A few  vertical  lines  and  num- 
berless fine  diagonal  lines,  running  from  left  to  right,  are  added 
here  and  there  in  the  background. 

1 14  MAUDE,  SEATED.  (W.  100.)  A young  woman  sits  looking 
toward  the  front,  but  turned  toward  the  left,  her  hands  in  her 
lap.  There  is  shading  in  the  background.  The  butterfly,  in 
outline,  is  above  the  middle  of  the  plate,  near  the  left  edge. 
Dry-point.  Height,  5%  inches;  width,  4X  inches. 

First  State:  The  face  is  turned  well  toward  the  front.  The 
shading  in  the  background  nearest  the  hands  is  now  mainly  in 
vertical  lines. 

Avery  Collection.  On  the  impression  in  this  collection  Whist- 
ler wrote:  “Maude”  and  “73.” 

Second  State:  Horizontal  lines  are  added  in  the  background, 
across  the  vertical  lines  near  the  hands,  and  vertical  lines  are 
added  at  the  right  of  the  figure. 

Vanderbilt  Collection. 


73 


whistler’s  etchings  and  dry-points 

Third  State:  The  head  has  been  redrawn  and  made  smaller. 
The  face  is  still  turned  to  the  front,  but  its  expression  is  changed. 
Freer  Collection. 

Fourth  State:  The  head  has  been  again  redrawn,  and  with 
further  change  of  expression.  The  face  is  turned  slightly  to 
the  left,  but  is  looking  toward  the  front.  Vertical  lines  are 
added  in  the  background,  above  the  head  and  at  the  right  of  the 
head  and  shoulders.  Short  horizontal  and  diagonal  lines  are 
added  in  the  background  at  the  left. 

Mansfield  Collection. 

115  THE  SILK  DRESS.  A tall  young  woman  wearing  a small 
round  hat  and  a dress  with  a train  stands  turning  to  the  left, 
but  looking  toward  the  front,  her  left  arm  by  her  side.  The 
plate  is  unsigned. 

Dry-point.  Height,  8y&  inches;  width,  5%  inches. 

First  State:  There  are  no  lines  in  the  background. 

Freer  Collection. 

Second  State:  There  are  now  a few  vertical  lines  in  the  back- 
ground, each  side  of  the  figure,  and  there  is  additional  work  on 
the  dress. 

Benedict  Collection. 

1 16  T1LL1E.  (W.  102.)  The  nude  figure  of  a young  girl,  stooping 
toward  the  left,  her  right  hand  resting  on  her  leg,  above  the  knee, 
near  the  left  hand,  which  is  concealed.  There  is  shading  in  the 
background.  The  butterfly  is  below  the  middle  of  the  plate, 
at  the  left. 

Dry-point.  Height,  9 inches;  width,  6%  inches. 

First  State:  The  figure  is  delicately  drawn.  The  shading 
in  the  background  is  in  vertical  lines,  each  side  of  the  figure. 
The  butterfly  is  in  outline. 

Avery  Collection.  On  the  impression  in  this  collection  Whist- 


74 


whistler’s  etchings  and  dry-points 


ler  wrote:  “Tillie  Gilchrist”  and  “1873.”  She  was  a popular 
model  at  the  time. 

Second  State:  The  face  and  hair  are  changed,  and  there  is 
more  work  on  the  figure.  A few  vertical  lines  are  added  in  the 
background  above  the  figure,  and  six  short  diagonal  lines  at 
the  right.  The  butterfly  is  shaded. 

Mansfield  Collection. 

Third  State:  The  outlines  of  the  figure  are  strengthened, 
and  numerous  short  strokes  are  added  on  the  body  and  arms. 
Vertical  lines  are  added  about  the  head,  and  a series  of  short 
diagonal  lines  in  front  of  the  figure. 

Fourth  State:  The  features  are  now  more  defined.  Strong 
vertical  lines  are  added  above  the  figure,  at  the  right. 

1 17  SEATED  GIRL.  (W.  103.)  A girl  thinly  draped,  seated  on  a 
low  chair,  is  facing  to  the  left  and  leaning  forward.  Her  right 
hand  rests  upon  the  knee  of  her  left  leg,  which  is  crossed  over  the 
rignt,  and  her  left  hand  rests  upon  the  frame  of  the  chair.  There 
is  shading  in  the  background.  The  butterfly,  in  outline,  is  above 
the  middle  of  the  plate,  at  the  left  edge. 

Dry-point.  Height,  8 inches;  width,  5^  inches. 

First  State:  There  are  two  series  of  fine  horizontal  lines  in 
the  background  above  the  left  arm. 

Avery  Collection.  On  the  impression  in  this  collection  Whist- 
ler wrote:  “Seated  Girl”  and  “73.” 

Second  State:  Strong  vertical  lines  are  added  in  the  back- 
ground above  the  left  arm,  obscuring  the  fine  horizontal  lines. 
Mansfield  Collection. 

1 1 8 GIRL  RESTING.  (W.  87.)  A girl  stands  facing  front,  bend- 
ing slightly  to  the  left,  wrapped  in  thin  drapery,  a fillet  binding 
her  hair.  There  is  shading  in  the  background. 

Dry-point.  Height,  8%  inches;  width,  5%  inches. 


75 


whistler’s  etchings  and  dry-points 

First  State:  There  is  shading  about  the  head  and  there  are 
four  horizontal  lines  at  the  left  of  the  figure,  and  two  at  the 
right,  opposite  the  waist.  There  is  no  butterfly. 

Avery  Collection.  On  the  impression  of  this  state  in  this  col- 
lection Whistler  wrote:  “1873,”  “ Dry  Point”  and  “ 1st  State.” 

Second  State:  Horizontal  lines  are  added  above  the  earlier 
lines,  each  side  of  the  figure,  and  vertical  lines  are  added  at  the 
right  of  the  left  shoulder.  There  is  no  butterfly. 

Avery  and  Benedict  Collections.  On  the  impression  of  this 
state  in  the  Avery  Collection  Whistler  wrote:  “Girl  Resting.” 

Third  State:  Vertical  lines  are  added  in  the  background, 
above  the  horizontal  lines  at  the  right,  and  the  butterfly,  in 
outline,  is  added  near  the  middle  of  the  plate,  at  the  left. 
Mansfield  Collection. 

Fourth  State:  In  the  background  at  the  left  a few  horizontal 
lines  are  added  above  the  main  horizontal  lines,  and  numerous 
vertical  lines  above  and  below  those  lines.  Vertical  lines  are 
added  at  the  right  of  the  head. 

Fifth  State:  Several  short  horizontal  lines  are  added  in  the 
background,  each  side  of  the  figure.  Some  of  the  lines  in  the 
drapery  are  strengthened. 

Sixth  State:  Numerous  strong  horizontal  lines  are  added  in 
the  background,  each  side  of  the  figure. 

Catalogued  by  Wedmore  as  “The  Model  Resting.” 


GIRL  LEANING.  (W.  105.)  A young  girl  in  slight  draperies 
stands  leaning  back  toward  the  right,  but  facing  to  the  left.  There 
are  strong  diagonal  lines  in  the  background,  at  the  right  of  the 
figure.  The  plate  is  unsigned. 

Dry-point.  Height,  4 yi  inches;  width,  iy%  inches. 

Freer  Collection. 

Catalogued  by  Wedmore  as  “Resting.” 

76 


whistler’s  etchings  and  dry-points 

120  DRAPED  GIRL  RECLINING.  (W.  107.)  A girl  very  slightly 
draped  and  wearing  a kerchief  about  her  head  is  lying  on  a 
divan,  her  head  and  shoulders  resting  on  pillows.  She  faces  to 
the  right,  her  right  hand  raised  to  her  face  and  her  left  hand  rest- 
ing on  her  hip.  In  the  background  there  are  Japanese  fans,  and 
at  the  right  is  a curtain.  The  plate  is  unsigned. 

Dry-point.  Height,  7 X inches;  width,  11  inches. 

There  is  perhaps  only  one  impression. 

Catalogued  by  Wedmore  as  “The  Model  Lying  Down.” 

12 1 GIRL  LYING  DOWN.  An  incomplete  sketch  of  a girl  wear- 
ing a long  dress,  slightly  indicated,  who  lies  on  a divan  with  her 
figure  extended  to  the  right,  her  right  arm  hanging  by  the  side  of 
the  divan.  There  is  a large  disk  in  the  background,  toward  the 
left.  Near  the  right  edge  of  the  plate  are  sketches  of  two  heads, 
one  that  of  a girl  wearing  a round  hat.  The  plate  is  unsigned. 
Dry-point.  Height,  5^  inches;  width,  8 yi  inches. 

Known  to  the  compiler  only  through  impressions  from  the  can- 
celled plate. 

122  GIRL  SLEEPING.  (W.  112.)  A young  girl  wearing  a short 
dress  lies  asleep  on  a low  divan,  her  figure  extended  to  the  left, 
her  left  hand  resting  on  a book  upon  the  floor. 

Dry-point.  Height,  5^  inches;  width,  8 % inches. 

First  State:  There  is  no  butterfly. 

Mansfield  Collection. 

Second  State:  The  butterfly,  in  outline,  is  in  the  upper  half 
of  the  plate,  an  inch  from  the  left  edge. 

Avery  and  Freer  Collections. 

Catalogued  by  Wedmore  as  “A  Child  on  a Couch.” 

123  NUDE  GIRL  RECLINING.  (W.  113.)  A nude  girl  is  lying  on 
a couch,  her  figure  extended  to  the  left.  Her  left  hand  is  raised 


77 


whistler’s  etchings  and  dry-points 


First  State:  The  space  above  the  head  is  clear.  There  is  no 
butterfly. 

Freer  Collection. 

Second  State:  Short  vertical  lines  are  added  in  the  back- 
ground immediately  above  the  head,  and  numerous  diagonal 
lines  at  the  right  of  the  figure.  The  butterfly,  shaded,  is  above 
the  middle  of  the  plate,  near  the  left  edge. 

Third  State:  Diagonal  lines  are  added  upon  the  right  knee. 
Numerous  vertical  lines  are  added  along  the  upper  edge  of  the 
plate,  and  diagonal  lines  are  added  at  the  right  of  the  head. 
Mansfield  Collection. 

Fourth  State:  There  is  additional  shading  on  the  boy’s  left 
shoulder.  Four  short  diagonal  lines  are  added  between  verti- 
cal and  diagonal  lines  near  the  edge  of  the  shading  at  the  right 
of  the  head,  and  a few  lines  are  added  nearer  the  head. 

Fifth  State:  Strong  diagonal  lines  are  added  in  the  back- 
ground at  the  right,  along  the  contour  of  the  head  and  figure 
and  in  the  lower  shadow. 

Mansfield  collection. 

Sixth  State:  There  is  more  work  on  the  hair.  A few  verti- 
cal lines  are  added  at  the  right  of  the  head,  and  diagonal  lines 
are  added  in  the  lower  shadow  and  between  the  legs. 

Seventh  State:  Lines  are  added  extensively  over  the  figure. 
Stronger  diagonal  lines  are  added  in  the  background  at  the 
right  and  in  the  lower  shadow.  Short  horizontal  lines  are 
added  at  the  left  of  the  head  and  shoulders,  and  a few  vertical 
lines  are  added  below  the  right  knee. 


SWINBURNE.  (W.  i io.)  Sketched  high  on  the  plate  is  a full- 
face  portrait  of  the  poet,  with  lofty  forehead,  thin  hair,  a mous- 
tache and  scanty  beard,  the  shoulders  being  merely  indicated. 
There  is  strong  shading  in  the  background,  about  the  head  and 

82 


whistler’s  etchings  and  dry-points 

shoulders.  The  lower  half  of  the  plate  is  left  entirely  blank. 
The  plate  is  unsigned. 

Dry-point.  Height,  io^i  inches;  width,  7^  inches. 

Freer  Collection.  On  the  impression  in  this  collection  Whistler 
wrote:  “Swinburne.” 


135  LADY  AT  A WINDOW.  (W.  in.)  A lady  wearing  a hat 
stands  facing  to  the  right,  leaning  against  a cabinet  by  a window 
and  reading  a paper. 

Dry-point.  Height,  9 y&  inches;  width,  6 %,  inches. 

First  State:  The  figure  is  slightly  sketched  and  the  features 
are  undefined.  There  is  a suggestion  of  a curtain  in  the  back- 
ground. The  cabinet  is  scarcely  more  than  indicated.  There 
is  no  butterfly. 

Freer  Collection. 

Second  State:  The  figure  is  fully  indicated  and  the  features 
are  defined.  Strong  diagonal  lines  are  added  on  the  dress. 
The  curtain  is  distinctly  expressed  and  vertical  lines  are  added 
below  it.  The  cabinet  is  now  more  clearly  indicated.  A small 
table  is  added  at  the  right.  There  is  no  butterfly. 

Mansfield  Collection. 

Third  State:  There  is  additional  work  on  the  dress  and  cur- 
tain. The  window-frame  is  more  defined.  Vertical  lines  are 
added  in  the  background  and  upon  the  side  of  the  cabinet. 
Curved  lines  are  added  above  the  table,  giving  it  the  appear- 
ance of  a desk.  The  butterfly,  in  outline,  is  above  the  desk. 

Fourth  State:  Numerous  fine  lines  are  added  on  the  body  and 
right  arm  and  hat,  and  a few  on  the  skirt.  Vertical  and  hori- 
zontal lines  are  added  in  the  background,  at  the  left  of  the  skirt. 

136  GENTLEMAN  READING.  A nearly  half-length  portrait  of  a 
gentleman  with  long  silky  hair  and  full  beard,  sitting  in  an  arm- 

83 


whistler’s  etchings  and  dry-points 

lower  part  of  her  skirt  is  only  slightly  indicated.  The  space 
about  her  head  is  strongly  shaded.  The  plate  is  unsigned. 
Dry-point.  Height,  10%  inches;  width,  5^  inches. 

Freer  Collection.  The  impression  in  this  collection,  formerly  in 
the  Haden  Collection,  is  perhaps  unique. 

13 1 THE  DESK.  (W.  104.)  A young  woman,  turned  somewhat 
to  the  left,  sits  facing  front,  her  left  arm  hanging  by  her  side, 
her  right  arm,  so  far  as  indicated,  resting  apparently  upon  a desk. 
There  is  shading  in  the  background.  The  plate  is  unsigned. 
Dry-point.  Height,  8y%  inches;  width,  53 45  inches. 

First  State:  The  right  arm  is  scarcely  indicated.  The  bend 
of  the  right  knee  is  now  expressed  by  a few  slight  lines.  The 
desk  is  merely  suggested.  In  the  background  there  are  a few 
lines  at  the  left  of  the  head,  many  vertical  lines  at  the  right  of 
the  head,  and  diagonal  lines  at  the  right  of  the  figure. 
Mansfield  Collection. 

Second  State:  The  expression  of  the  face  is  slightly  changed. 
A few  short  diagonal  lines  are  added  above  similar  lines  at  the 
left  of  the  head.  Short  diagonal  lines  are  added  below  the  right 
arm,  and  longer  diagonal  lines  below  the  elbow  of  the  left  arm. 

Third  State:  The  expression  of  the  face  is  again  changed. 
Both  arms  are  more  distinctly  outlined,  and  the  figure  is  more 
defined  by  shading.  The  desk  is  more  clearly  indicated,  and 
horizontal  lines  are  added  in  the  background  above  the  desk. 
The  shading  at  the  right  of  the  head  has  been  changed  and 
surrounds  two  small  blank  spaces. 

Freer  Collection. 

Fourth  State:  Additional  work  on  the  face  gives  a new  ex- 
pression to  the  eyes  and  mouth.  Four  short  vertical  lines  are 
added  above  the  earlier  shading  at  the  right  of  the  head,  and 
the  small  space  nearer  the  head  is  now  filled  with  short  verti- 
cal lines. 


80 


whistler’s  etchings  and  dry-points 


Fifth  State:  The  face  has  been  redrawn  and  shortened,  and 
the  hair  made  to  fall  thickly  on  the  forehead.  The  bend  of  the 
right  knee  is  expressed  by  heavy  lines.  Strong  diagonal  lines 
are  added  upon  the  skirt  of  the  dress.  The  desk  is  further 
defined. 

132  AGNES.  (W.  106.)  A woman  with  a fringe  of  hair  across  her 
forehead  sits  facing  front,  apparently  tightening  strings  around 
the  mouth  of  a bag  which  she  holds  in  both  hands.  There  is 
shading  in  the  background,  about  the  head.  The  plate  is  un- 
signed. 

Dry-point.  Height,  8J4,  inches,  width,  5^  inches. 

First  State:  The  shading  is  in  close  vertical  lines  above  the 
head  and  at  the  right  of  the  head,  and  in  open  vertical  lines, 
crossed  by  horizontal  and  diagonal  lines,  at  the  left  of  the  head 
and  neck. 

Mansfield  Collection. 

Second  State:  Vertical  lines  are  added  above  the  head  and 
above  the  earlier  lines  at  the  right,  and  short  diagonal  lines  are 
added  above  the  left  shoulder. 

Freer  Collection. 

Third  State:  Vertical  lines,  which  extend  to  the  top  of  the 
plate,  are  added  above  the  head.  A few  thick  short  lines  are 
added  along  the  left  side  of  the  bag. 

133  THE  BOY.  (W.  109.)  A boy  with  long  hair  falling  upon  his 
shoulders  sits  sidewise,  facing  front,  on  a ledge  or  a high  bench. 
His  right  foot,  merely  indicated,  is  raised  from  the  floor,  on  which 
his  left  foot,  also  merely  indicated,  rests.  His  left  hand  lies 
over  his  right  knee.  There  are  traces  of  a head  in  reverse  near 
the  bottom  of  the  plate,  at  the  center.  There  is  shading  in  the 
background. 

Dry-point.  Height,  8%  inches;  width,  5%  inches. 


81 


whistler’s  etchings  and  dry-points 

to  her  face,  and  her  right  hand  is  lifted  behind  her.  The  plate  is 
unsigned. 

Dry-point.  Height,  5 X inches;  width,  8y  inches. 

First  State:  The  face  and  figure  are  but  slightly  indicated. 
Freer  Collection. 

Second  State:  The  legs  and  left  arm  are  more  defined,  and  a 
few  lines  are  added  here  and  there. 

Freer  Collection. 

Catalogued  by  Wedmore  as  “Sketch  of  a Girl,  Nude.” 

124  NUDE  GIRL  POSING.  The  nearly  full-length  figure  of  a nude 
girl,  who  stands  facing  front,  but  with  the  body  turned  toward 
the  right,  her  right  hand  resting  upon  her  hip.  There  is  some 
shading  in  the  background.  The  plate  is  unsigned. 

Dry-point.  Height,  ii|T  inches;  width,  6j4  inches. 

Known  to  the  compiler  only  through  impressions  from  the  can- 
celled plate. 

125  NUDE  GIRL  STANDING.  The  full-length  figure  of  a nude 
girl,  who  stands  facing  front,  her  left  leg  crossed  in  front  of  the 
right,  her  left  arm  resting  on  a ledge.  The  plate  is  unsigned. 
Dry-point.  Height,  8 % inches;  width,  6 inches. 

Known  to  the  compiler  only  through  impressions  from  the  can- 
celled plate. 

126  NUDE  GIRL  WITH  ARMS  RAISED.  The  full-length  figure  of 
a nude  girl,  who  stands  turned  and  facing  toward  the  right.  Her 
left  leg  is  crossed  in  front  of  the  right,  and  her  arms,  incompletely 
drawn,  are  raised  above  her  head,  as  if  holding  draper)'  which  is 
suggested  as  falling  behind  the  figure.  The  plate  is  unsigned. 
Dry-point.  Height,  7X  inches;  width,  3%  inches. 

Known  to  the  compiler  only  through  impressions  from  the  can- 
celled plate. 

78 


whistler's  etchings  and  dry-points 

127  SKETCHES  OF  TWO  HEADS.  Near  the  top  of  the  plate  is  a 
slight  sketch  of  the  head  of  a young  woman  facing  front.  The 
head  is  surrounded  by  shading.  Near  the  bottom  of  the  plate, 
slightly  suggested,  is  the  back  of  a head,  in  reverse.  The  plate 
is  unsigned. 

Dry-point.  Height,  5 y%  inches;  width,  3 yi  inches. 

Freer  Collection. 

128  SKETCHES  OF  GIRL  AND  WOMAN.  (W.  108.)  Near  the 
left  upper  corner  of  the  plate  is  a sketch  of  a girl,  facing  to  the 
right,  seated  apparently  on  a divan  and  leaning  against  a cush- 
ion which  projects  above  her  head.  In  the  lower  part  of  the 
plate  is  a slight  half-length  sketch  of  a woman,  seen  in  reverse. 
Between  the  two  figures  are  a number  of  irrelevant  lines.  The 
plate  is  unsigned. 

Dry-point.  Height,  7 inches;  width,  5X  inches. 

Freer  Collection. 

Catalogued  by  Wedmore  as  “Two  Sketches.” 

129  LADY  STANDING.  (Sup.  364.)  A young  lady  wearing  an 
over-skirt  looped  up  at  the  back  and  a hat  with  a feather  stands 
facing  outward  to  the  right,  her  right  arm  hanging  by  her  side, 
her  left  arm,  so  far  as  indicated,  seeming  to  rest  upon  a desk. 
Vertical  lines  strongly  shade  the  background  at  the  left  of  the 
figure  and  at  the  right  of  the  head.  The  plate  is  unsigned. 
Dry-point.  Height,  8 inches;  width,  6 inches. 

Freer  Collection.  The  impression  in  this  collection,  formerly  in 
the  Haden  Collection,  is  perhaps  unique.  It  is  retouched  in 
black  crayon.  The  butterfly,  in  outline,  is  added  in  crayon  at 
the  right,  within  the  plate-mark. 

130  GIRL  STANDING.  (Sup.  365.)  A young  girl  with  large  eyes 
and  with  hair  falling  over  her  forehead  stands  turning  toward 
the  left,  but  facing  front,  her  left  arm  hanging  by  her  side.  The 


79 


whistler’s  etchings  and  dry-points 

chair,  facing  to  the  right  and  holding  a book.  There  is  shading 
in  the  background.  The  plate  is  unsigned. 

Dry-point.  Height,  io>^  inches;  width,  7 inches. 

Known  to  the  compiler  only  through  impressions  from  the  can- 
celled plate. 

137  MISS  ALEXANDER.  A young  girl  with  hair  fringed  across  her 
forehead  and  falling  upon  her  shoulders  sits  facing  toward  the 
right,  in  a large  armchair.  There  are  horizontal  and  diagonal 
lines  in  the  background  at  the  left  of  the  figure,  and  horizontal 
lines  underneath  the  chair.  The  plate  is  unsigned. 

Dry-point.  Height,  inches;  width,  5^  inches. 

Freer  Collection.  The  impression  in  this  collection  is  touched 
with  India  ink,  and  the  butterfly  is  added  in  India  ink. 

138  THE  GUITAR-PLAYER.  (W.  122.)  A nearly  full-length 
portrait  of  a man  with  full  beard,  who  wears  a short  coat  and 
stands  facing  nearly  front,  but  somewhat  to  the  left,  holding  a 
guitar  which  he  is  playing.  There  is  shading  in  the  background. 
The  butterfly,  in  outline,  is  below  the  middle  of  the  plate,  near 
the  right  edge. 

Dry-point.  Height,  10 J/&  inches;  width,  6 % inches. 

First  State:  The  shading  in  the  background  consists  of  only 
horizontal  lines  above  the  left  shoulder  and  of  horizontal  and 
a few  other  lines  above  the  right  shoulder,  and  a few  horizontal 
and  vertical  lines  below  the  right  arm. 

Avery  Collection.  On  the  impression  in  this  collection  Whist- 
ler wrote:  “The  Guitar-Player  (Ridley)”  and  “75.” 

Second  State:  Vertical  lines  are  added  in  the  background, 
at  the  right  of  the  head,  and  horizontal  and  vertical  lines  along 
the  right  side  of  the  figure. 

Third  State:  There  is  additional  work  on  the  figure.  In  the 
background  at  the  right,  vertical  lines  are  added  above  the 

84 


whistler’s  etchings  and  dry-points 


head,  and  horizontal  and  vertical  lines  along  the  length  of  the 
■ figure.  A series  of  short  diagonal  lines  extends  from  the  left 
shoulder.  Horizontal  and  diagonal  lines  are  added  above  the 
right  shoulder,  and  numerous  horizontal  lines  below  the  right 
arm. 

Freer  and  Lathrop  Collections. 

Fourth  State:  Short  vertical  lines  are  added  above  the  head, 
at  the  left,  and  heavy  diagonal  lines  on  the  guitar,  below  the 
hand. 

Benedict  Collection. 

Fifth  State:  Short  horizontal  lines  and  a few  vertical  lines 
are  added  at  the  right  of  the  head,  and  numerous  horizontal 
lines  and  some  vertical  lines  are  added  above  the  head  and  at 
the  left. 

Mansfield  Collection. 

THE  PIANO.  (W.  1 17.)  A young  woman  sits  facing  to  the 
left,  playing  a piano,  the  form  of  which  is  merely  suggested. 
Dry-point.  Height,  9^  inches;  width,  inches. 

First  State:  There  is  no  shading  in  the  background  except 
short  lines  about  the  head  and  at  the  right  of  the  figure,  and  a 
few  vertical  lines  below  the  extended  arms.  There  is  no  but- 
terfly. 

Buckingham  Collection. 

Second  State:  Vertical  lines  are  added  in  the  background, 
extensively  above  the  figure,  also  at  the  left.  Two  series  of 
diagonal  lines  are  added  at  the  right  of  the  figure,  and  a number 
of  vertical  lines  below  the  piano.  There  is  no  butterfly. 

Avery  Collection.  On  the  impression  in  this  collection  Whist- 
ler wrote:  “The  Piano”  and  “75.” 

Third  State:  In  the  background  numerous  vertical  lines  are 
added  across  the  upper  part  of  the  plate,  and  horizontal  and 
diagonal  lines  near  each  side  of  the  head.  Vertical  lines  are 

85 


whistler’s  etchings  and  dry-points 


the  seated  figure  at  the  right.  The  roof-beams  are  more  dis- 
tinct. There  is  no  butterfly. 

Fifth  State:  There  is  more  work  on  the  standing  figures. 
Vertical  lines  are  added  in  the  space  above  the  cross-piece,  and 
seven  short  vertical  lines  in  the  space  below  the  window-sill. 
Lines  are  added  below  the  left  arm  and  hammer  of  the  man 
bending  over  the  anvil.  The  trees  at  the  left  are  defined  as 
two  tall  trees.  The  butterfly,  shaded,  is  near  the  left  lower 
corner  of  the  plate. 

Avery  Collection. 

Sixth  State:  The  suggestions  of  trees  at  the  right  of  the 
two  tall  trees  are  given  the  form  of  a single  rounded  tree. 
Mansfield  Collection. 

Seventh  State:  Numerous  lines  are  added  on  the  back  of 
the  man  standing  next  the  furnace,  and  the  left  leg  of  the  man 
standing  by  him  is  more  defined.  Short  vertical  lines  are  add- 
ed above  the  head  of  the  seated  figure  at  the  right;  four  di- 
agonal lines  are  added  at  the  right  of  the  man  seated  at  the 
window;  several  diagonal  lines  are  added  on  the  lower  part  of 
the  anvil.  The  cross-piece  is  now  heavily  shaded;  the  shad- 
ing in  the  mouth  of  the  furnace  is  deepened,  and  the  shadows 
generally  are  strengthened. 

Freer  Collection. 

Eighth  State:  Short  horizontal  lines  are  added  on  the  wall  at 
the  right  of  the  window.  Strong  vertical  lines  are  added  below 
the  arm  and  hammer  of  the  man  bending  over  the  anvil.  There 
is  some  additional  work  here  and  there  throughout  the  plate. 

146  THE  TWO  SHIPS.  (W.  116.)  Two  ships  lie  side  by  side,  near 
a wharf  at  the  right,  a small  boat  lying  alongside  the  outer  ship. 
Beyond  is  a barge  under  sail,  and  in  the  distance  are  warehouses 
and  shipping.  The  butterfly,  shaded,  is  near  the  left  lower 
corner  of  the  plate. 


90 


whistler’s  etchings  and  dry-points 


Etching.  Height,  8%  inches;  width,  5 X inches. 

Mr.Wedmore  says:  “The  scene  is  St.  Katherine’s  Docks,  London.” 
The  plate  was  done  in  1875.  It  was  published  in  1880  by  Messrs. 
Dowdeswell  and  Dowdeswells. 

First  State:  The  modeling  of  the  stern  of  the  ship  next  the 
wharf  is  indicated  by  a few  etched  lines.  The  stern  of  the 
outer  ship  and  the  form  of  the  boat  alongside  are  mainly  ex- 
pressed by  outlines.  The  barge  and  the  distant  shipping  are 
faintly  indicated. 

Benedict  Collection. 

Second  State:  The  modeling  of  the  lower  part  of  each  stern 
is  indicated  by  strong  curved  lines  in  dry-point,  the  upper  part 
being  still  expressed  by  outlines.  The  reflections  of  the  ships 
are  strengthened.  The  stern  and  side  of  the  boat  alongside 
the  outer  ship  are  slightly  shaded.  There  is  additional  work 
on  the  rigging  of  the  ships  and  on  the  warehouses,  barge  and 
distant  shipping. 

Avery  and  Parker  Collections. 

Third  State:  Vertical  lines  are  added  on  the  upper  part  of 
each  stern,  and  diagonal  lines  on  the  lower  part,  and  the  reflec- 
tions of  the  ships  are  changed.  The  stern  and  side  of  the  boat 
alongside  the  outer  ship  are  strongly  shaded. 

147  STEAMSHIPS  OFF  THE  TOWER.  (W.  114.)  Lying  to- 
gether, well  out  in  the  Thames,  are  two  large  steamships.  At  the 
right  there  are  a number  of  ships  and  at  the  left  there  are  three 
barges  with  furled  sails.  Beyond  a wharf  at  the  right  are  the 
Tower  and  other  buildings.  On  the  river,  in  front  and  at  the 
right,  there  are  rowboats  with  men  in  them.  The  butterfly,  in 
outline,  is  in  the  sky,  near  the  right  upper  corner  of  the  plate. 
Dry-point.  Height,  6%  inches;  width,  8%  inches. 

First  State:  The  whole  composition  is  but  slightly  sketched. 
There  is  one  long  boat  in  front. 


9‘ 


whistler’s  etchings  and  dry-points 


143  THE  DAM  WOOD.  (W.  120.)  In  the  foreground  is  a group  of 
young  slender  trees.  There  are  suggestions  of  a grassy  meadow 
beyond  and  of  a wood  in  the  distance,  under  a cloudy  sky. 
Dry-point.  Height,  6%  inches;  width,  4 yi  inches. 

First  State:  The  lines  in  the  distance  are  indefinite.  There 
is  no  butterfly. 

Avery,  Benedict,  Buckingham,  and  Vanderbilt  Collections. 
On  the  impression  in  the  Avery  Collection  Whistler  wrote: 
“ Near  Speke.” 

Second  State:  The  grass  and  the  distant  wood  are  now  well 
defined.  The  butterfly,  shaded,  is  on  the  lower  part  of  the 
wood,  at  the  right. 

Freer  Collection. 

Third  State:  Strong  diagonal  lines,  running  from  left  to  right, 
cross  the  right  half  of  the  plate,  above  the  butterfly.  Diagonal 
lines  are  added  in  the  lower  part  of  the  sky,  at  the  left. 
Fathrop  and  Mansfield  Collections. 

144  SHIP-BUIFDER’S  YARD.  (W.  121.)  In  the  foreground,  near 
a high  scaffolding  at  the  extreme  right,  there  is  a tall  pole,  at 
the  foot  of  which  a man  is  standing.  Across  a wide  reach  of 
water  are  numerous  vessels  at  anchor  and  lines  of  distant  ship- 
ping. There  are  a few  clouds  in  the  sky.  The  butterfly,  in 
outline,  is  half  way  up  the  plate,  near  the  left  edge. 

Dry-point.  Height,  \o%  inches;  width,  5^  inches. 

First  State:  The  man  wears  a long  coat  and  round-topped  hat. 
Avery  and  Freer  Collections.  On  the  impression  in  the  Avery 
Collection  Whistler  wrote:  “Ship  Builder’s  Yard,”  “Fiver- 
pool”  and  “75.” 

Second  State:  In  place  of  the  man  first  drawn  is  a man  differ- 
ently clad  and  indistinctly  indicated.  There  are  additional 
lines  in  the  sky,  a little  above  the  shipping. 

Mansfield  Collection. 


88 


whistler’s  etchings  and  dry-points 

Third  State:  The  second  man  has  been  almost  wholly  re- 
moved. Short  vertical  lines  are  added  below  the  line  of  the 
bulkhead  near  which  he  stood.  Shading  is  added  upon  the 
scaffolding  and  shipping. 

Buckingham  Collection. 

THE  LITTLE  FORGE.  (W.  115.)  The  interior  of  a forge  in 
which  men  are  at  work.  One,  in  front,  bends  over  an  anvil; 
two  stand  near  a furnace  in  the  background;  a fourth  is  seated 
at  a bench  at  the  left,  near  an  open  window  through  which  there 
is  a glimpse  of  a landscape  with  trees.  Slightly  indicated  in  the 
background  at  the  extreme  right,  is  a seated  figure.  Beams  at 
right  angles  to  a long  cross-piece  support  the  roof. 

Dry-point.  Height,  8^8  inches;  width,  5^3  inches. 

First  State:  The  men  standing  by  the  furnace  are  merely  in- 
dicated. There  is  a clear  space  above  the  cross-piece,  at  the  ex- 
treme left,  and  another  above  the  head  of  the  man  standing  in 
the  background  at  the  right.  There  are  two  crossed  lines  on  the 
back  of  the  man  seated  at  the  window.  The  trees  seen  through 
the  window  are  merely  suggested.  There  is  no  butterfly. 
Avery,  Freer,  and  Benedict  Collections.  On  the  impression 
of  this  state  in  the  Avery  Collection  Whistler  wrote:  “The 
Little  Forge,”  “Liverpool,”  “1st  proof”  and  “75.” 

Second  State:  Short  vertical  and  diagonal  lines  are  added  in 
the  space  half  an  inch  above  the  man  standing  in  the  back- 
ground at  the  right.  There  is  no  butterfly. 

Third  State:  Crossed  lines  are  added  on  the  back  of  the  man 
seated  at  the  window,  and  short  lines  are  added  on  the  upper 
part  of  his  arm.  Short  irregular  lines  are  added  on  the  window- 
sill. There  is  no  butterfly. 

Benedict  Collection. 

Fourth  State:  The  two  men  by  the  furnace  are  fairly  well 
defined.  Vertical  lines  are  added  in  the  background  just  above 

89 


whistler’s  etchings  and  dry-points 

added  below  the  extended  arms,  at  the  left  of  the  earlier  lines. 
The  butterfly,  slightly  shaded,  is  at  the  left,  two-thirds  of  the 
way  up  the  plate. 

Benedict  Collection.  On  the  impression  of  this  state  in  this 
collection  Whistler  wrote:  “Miss  Tinnie  Greaves.” 

Fourth  State:  The  piano  is  somewhat  more  defined  and  six 
short  vertical  lines  are  added  below  the  piano,  at  the  left  of  the 
earlier  lines. 

Mansfield  Collection. 

Fifth  State:  A row  of  short  vertical  lines  is  added  in  the  back- 
ground, above  the  butterfly;  numerous  vertical  lines  are  add- 
ed each  side  of  the  figure,  and  there  are  additional  lines  on  the 
dress. 

Benedict  Collection. 

Sixth  State:  Vertical  lines  are  added  in  the  background  at 
the  left,  and  numerous  short  diagonal  lines  above  the  head  and 
at  the  right  of  the  figure. 

140  THE  SCOTCH  WIDOW.  (W.  118.)  A young  woman  with  a 
scarf  over  her  head,  and  wearing  a plaid  shawl  and  long  skirt,  sits 
facing  front  and  bending  slightly  forward.  There  are  a few  ver- 
tical lines  in  the  background,  besides  strong  shading  at  the  left 
of  the  skirt.  The  butterfly,  shaded,  is  below  the  middle  of  the 
plate,  near  the  right  edge. 

Dry-point.  Height,  y%  inches;  width,  4 inches. 

Avery  and  Mansfield  Collections.  On  the  impression  in  the 
Avery  Collection  Whistler  wrote:  “The  Scotch  Widow”  and 


141  SPEKE  HALL.  No.  2.  (Sup.  269.)  Beyond  a broad  open 
space  stands  a long  half-timbered  house  with  four  gables  in  front 
and  a gable  and  two  chimneys  at  the  left  end.  There  is  a sug- 
gestion of  shrubbery  at  the  left  and  of  trees  at  the  right.  Near 

86 


whistler’s  etchings  and  dry-points 

the  foreground,  at  the  extreme  right,  is  a tree-stem  with  two 
long  projecting  branches.  The  plate  is  unsigned. 

Dry-point.  Height,  6%  inches;  width,  12  inches. 

First  State:  The  open  space  is  clear. 

Avery  and  Mansfield  Collections.  The  impression  in  the  Avery 
Collection  bears  the  memoranda:  “Speke  Hall” — “1875” 
and  “ 1 st  proof,”  with  the  artist’s  signature. 

Second  State:  In  the  open  space,  near  the  center  there  is  the 
figure  of  a man  walking;  at  the  left  are  the  figures  of  two 
women  and  the  figure  of  another  man;  at  the  right  are  two 
other  figures — all  slightly  indicated. 

Freer  Collection. 

142  SPEKE  SHORE.  (W.  119.)  Beyond  a stretch  of  beach,  on 
which  a patch  of  grass  is  growing,  rises  a high  bushy  bank,  on 
which,  at  the  left,  are  a few  trees,  one  of  them  bearing  a sign- 
board. At  the  right  is  roughish  water  under  a lowering  sky.  In 
the  foreground,  at  the  right,  a woman  wearing  a trailing  skirt 
and  a jacket,  and  a hat  covered  by  a veil,  is  walking  toward  the 
bank.  The  plate  is  unsigned. 

Dry-point.  Height,  6 inches;  width,  9 inches. 

First  State:  The  stem  of  the  tree  bearing  the  sign-board  is 
expressed  by  parallel  lines  with  some  slight  shading.  There 
is  almost  no  shading  on  the  stems  of  the  other  trees.  The 
woman’s  jacket  is  shaded  by  fine  parallel  lines. 

Mansfield  Collection,  On  the  impression  in  this  collection 
Whistler  wrote:  “1st  State”  and  “1st  proof.” 

Second  State:  There  is  more  shading  on  the  tree-stems  and  on 
the  woman’s  jacket,  and  numerous  lines  are  added  on  the  bushes. 

Third  State:  The  tree-stems  are  strongly  shaded.  There  is 
more  work  on  the  grass,  and  short  diagonal  lines  are  added 
here  and  there  below  the  waving  outlines  of  the  bushes  along 
the  ridge  of  the  bank. 


87 


whistler’s  etchings  and  dry-points 

Avery  Collection.  On  the  impression  of  this  state  in  this  col- 
lection Whistler  wrote:  “Custom  House  Wharf.” 

Second  State:  The  long  boat  is  divided  into  two  boats.  The 
new  moon  appears  at  the  right,  above  the  distant  buildings. 
Benedict  and  Freer  Collections. 

Third  State:  There  is  much  additional  work  on  the  buildings 
and  on  the  vessels  and  their  reflections. 

Avery  and  Mansfield  Collections.  On  the  impression  of  this 
state  in  the  Avery  Collection  Whistler  wrote:  “From  the  Cus- 
tom House,  Thames”  and  “75.” 

148  CUSTOM-HOUSE.  (W.  128,  Sup.  300.)  The  London  Custom- 
House,  a long  building  with  columns,  appears  across  the  Thames, 
at  the  left  of  a church  tower  and  a large  warehouse.  Farther 
to  the  left,  above  a row  of  buildings  merely  outlined,  the  four 
turrets  of  the  White  Tower  are  seen.  On  the  river  are  barges 
and  a few  vessels,  slightly  sketched.  The  plate  is  unsigned. 
Etching.  Height,  3X  inches;  width,  7T6  inches. 

Catalogued  by  Wedmore  as  “The  White  Tower.” 

149  THE  TROUBLED  THAMES.  (W.  129.)  Across  a stretch  of 
roughish  water  appears  a row  of  Thames  warehouses,  in  front  of 
which  are  river  steamboats.  Out  in  the  stream  are  barges  and 
a steamboat,  slightly  indicated.  The  plate  is  unsigned. 

Etching.  Height,  4 X inches;  width,  8 % inches. 

First  State:  The  disturbance  of  the  water  is  suggested  by 
numerous  slightly  etched  lines. 

Freer  Collection. 

Second  State:  Dry-point  lines  are  added  here  and  there  in 
the  water,  and  shading  is  added  on  the  warehouses.  A wharf 
with  a paling  behind  it  is  added  at  the  extreme  right.  Two 
furled  sails  cross  the  left  upper  corner. 

Benedict  Collection. 


92 


whistler’s  etchings  and  dry-points 


150  LONDON  BRIDGE.  (W.  123.)  An  arch  of  London  Bridge, 
through  which  are  seen,  at  the  right,  a steamship  with  barges 
clustered  about  it,  and  at  the  left,  across  the  river,  vessels  and 
warehouses.  In  front  are  two  men  in  a rowboat,  one  standing, 
and  at  the  right  are  a rowboat  and  barges.  A vehicle  loaded 
with  sacks,  on  which  the  driver  is  seated,  is  crossing  the  bridge. 
Dry-point.  Height,  6}i  inches;  width,  inches. 

First  State:  The  arch  is  shaded  by  short  parallel  lines.  The 
figures  in  the  rowboat  in  front  are  in  outline.  The  side  of  this 
boat  and  the  sides  of  the  rowboat  and  adjacent  barge  at  the 
right  are  slightly  shaded  by  short  horizontal  lines.  The  dis- 
tant warehouses  are  merely  suggested.  There  is  no  butterfly. 
Mansfield  Collection. 

Second  State:  Strong  parallel  lines,  running  lengthwise,  are 
added  underneath  the  arch.  There  is  shading  on  the  figures 
in  the  boat  in  front.  Short  diagonal  lines  shade  the  side  of 
this  boat  for  two-thirds  of  its  length.  Similar  lines  slightly 
shade  the  sides  of  the  boat  and  barge  at  the  right.  There  is 
much  additional  work  on  the  steamship  and  on  the  barges 
clustered  about  it.  The  distant  warehouses  are  defined  and 
shaded.  There  is  no  butterfly. 

Benedict  Collection. 

Third  State:  The  lines  running  lengthwise  underneath  the 
arch  are  no  longer  conspicuous,  and  numerous  lines  crossing 
them  are  added.  The  butterfly,  shaded,  is  toward  the  right 
lower  corner  of  the  plate. 

Mansfield  Collection. 

Fourth  State:  Shading  on  the  side  of  the  rowboat  in  front 
extends  its  whole  length.  There  is  additional  work  under- 
neath the  arch  and  here  and  there  throughout  the  plate. 

Fifth  State:  The  lines  of  shading  on  the  rowboat  in  front  are 
closer  and  are  uniformly  extended  to  the  gunwale. 

Avery  Collection. 


93 


whistler’s  etchings  and  dry-points 


i 51  PRICE’S  CANDLE-FACTORY.  (W.  124.)  An  assemblage  of 
low  sheds  with  rounded  roofs  and  tall  chimneys,  seen  across  the 
Thames  from  Chelsea.  At  the  right  there  are  two  arches  of  a 
bridge  spanning  the  river,  and  beyond  is  a church  spire.  On  the 
river  are  two  barges,  the  farther  one  under  sail. 

Dry-point.  Height,  5L6  inches;  width,  8J4  inches. 

First  State:  The  farther  barge  has  a short  mast  and  one  sail. 
In  front  of  the  barges  there  are  outlines  of  a long  rowboat  and 
four  occupants.  There  are  two  irregular  dotted  lines,  below 
horizontal  lines,  in  the  sky.  There  is  no  butterfly. 

Benedict,  Freer,  Lathrop,  and  Mansfield  Collections. 

On  an  impression  of  this  state  Whistler  wrote:  “ Price’s  Candle- 
Factory.” 

Second  State:  The  farther  barge  has  a tall  mast  with  a top- 
sail and  with  a short  pennant  flying  to  the  left.  There  is  addi- 
tional shading  on  the  mainsail  and  on  the  sides  of  both  barges. 
There  is  a man  on  the  stern  of  the  nearer  barge.  A firm  line  is 
added  along  the  upper  dotted  line.  There  is  no  butterfly. 

Freer  and  Mansfield  Collections. 

Third  State:  The  mast  of  the  farther  barge  is  lengthened  and 
has  a long  pennant  flying  to  the  right.  Both  sails  are  changed 
in  shape  and  enlarged.  The  form  of  the  nearer  barge  is  changed 
and  its  side  is  shaded  by  vertical  lines.  Parts  of  the  build- 
ings have  been  burnished  out.  The  barges,  sails  and  buildings 
cast  strong  reflections.  Traces  of  the  rowboat  in  front  have 
been  removed.  The  forms  of  the  clouds  are  changed,  and 
numerous  short  lines  are  added  in  the  sky,  above  the  bridge. 
Thebutterfly,  shaded,  is  near  the  bottom  of  the  plate,  at  the  right. 

Fourth  State:  The  mainsail  of  the  farther  barge  is  heavily 
shaded.  Diagonal  lines  are  added  on  the  side  of  the  nearer 
barge.  Some  of  the  buildings  have  been  redrawn.  There  is 
additional  work  underneath  the  bridge. 

Catalogued  by  Wedmore  as  “Price’s  Candle-Works.” 


94 


whistler’s  etchings  and  dry-points 

152  BATTERSEA:  DAWN.  (W.  125.)  River  steamboats  lie  clus- 
tered on  the  Thames,  near  the  farther  shore,  on  which  are  long 
sheds,  high  buildings,  and  numerous  tall  chimneys.  In  front, 
at  the  right,  there  are  several  rowboats,  and  at  the  left  is  a group 
of  rowboats,  one  with  a small  flag  at  the  stern.  The  butterfly 
is  in  the  sky,  at  the  right. 

Dry-point.  Height,  5%  inches;  width,  8 inches. 

First  State:  The  row  of  buildings  at  the  left  does  not  reach 
the  edge  of  the  plate.  There  is  a mere  outline  of  roofs  at  the 
extreme  right.  The  sides  of  all  the  steamboats  and  rowboats 
are  shaded  by  horizontal  lines.  The  butterfly  is  faintly  shaded. 
Benedict,  Buckingham,  and  Mansfield  Collections. 

Second  State:  The  row  of  buildings  at  the  left  is  extended 
virtually  to  the  edge  of  the  plate.  Roofs  at  the  extreme  right 
are  expressed  by  shading.  Short  vertical  lines  are  added  on 
the  side  of  the  nearest  steamboat  and  on  the  sides  of  the  far- 
thest steamboats  at  the  left,  and  short  diagonal  lines  on  the 
right  half  of  the  nearest  of  a group  of  three  rowboats.  There  is 
more  shading  on  the  butterfly. 

Freer  Collection. 

Third  State:  Short  diagonal  lines  are  added  on  the  left  half 
of  the  nearest  of  the  three  rowboats. 

Fourth  State:  Numerous  vertical  lines  are  added  below  the 
shaded  roofs  at  the  extreme  right. 

Fifth  State:  Short  diagonal  lines  are  added  on  the  side  of  the 
nearest  steamboat,  aft  of  the  paddle-box,  and  on  the  sides  of 
steamboats  lying  beyond.  Numerous  fine  diagonal  lines  are 
added  on  the  buildings  and  in  the  sky  at  the  right.  The  small 
stern-flag  is  lengthened.  There  are  a few  additional  reflections 
of  smoke-stacks  and  chimneys. 

153  STEAMBOAT-FLEET.  (W.  223,  Sup.  363.)  A cluster  of 
Thames  steamboats  is  seen  across  the  river,  in  which  they  are 


95 


whistler’s  etchings  and  dry-points 

strongly  reflected.  At  the  right  is  a landing-stage  reached  by  a 
curved  bridge.  Long  horizontal  lines  indicate  a lowering  sky. 
The  plate  is  unsigned. 

Dry-point.  Height,  5 yi  inches;  width,  8 yi  inches. 

First  State:  Between  the  landing-stage  and  the  nearest  boat 
are  firm  parallel  lines,  and  above  the  boat  are  three  series  of 
short  vertical  lines. 

Mansfield  Collection. 

Second  State:  The  horizontal  lines  between  the  landing-stage 
and  nearest  boat  are  softened,  and  the  three  series  of  vertical 
lines  are  given  the  appearance  of  tall  chimneys  above  distant 
buildings. 

Catalogued  in  the  Supplement  as  “Opposite  Lindsay  Row.” 

154  THE  SAIL.  Near  the  center  of  the  plate  is  a topmast  with  a 
furled  sail  and  some  rigging.  Below  is  a suggestion  of  a square 
sail  set.  The  plate  is  unsigned. 

Dry-point.  Height,  8%  inches;  width,  5 X inches. 

Freer  Collection. 

155  FISHING-BOATS,  HASTINGS.  (W.  131.)  Stranded  upon  a 
beach  are  fishing-boats,  behind  which  stretches  a row  of  shanties 
at  the  foot  of  a hill.  In  the  foreground,  at  the  right,  nets  are 
hung  up  to  dry.  Near  the  right  lower  corner:  “ Hastings.”  The 
butterfly  is  half  way  up  the  plate,  near  the  left  edge. 

Etching.  Height,  5%  inches;  width,  0,%  inches. 

First  State:  Lines  in  the  sky  at  the  left  extend  partly  across 
the  hill.  The  butterfly  is  slightly  shaded,  and  is  a quarter  of 
an  inch  wide. 

Mansfield  Collection. 

Second  State:  Dry-point  lines  are  added  in  the  sky  and  on 
the  sides  of  the  nearer  boats.  A new  butterfly,  shaded,  of  the 
width  of  half  an  inch,  replaces  the  first  butterfly. 

96 


whistler’s  etchings  and  dry-points 


Avery  and  Benedict  Collections.  On  the  impression  in  the 
Avery  Collection  Whistler  wrote:  “1877”  and  “Hastings.” 

Third  State:  The  lines  in  the  sky  have  nearly  disappeared. 
In  place  of  the  earlier  butterflies  is  a butterfly  in  outline. 

156  WYCH  STREET.  (W.  132.)  High  on  the  plate,  at  the  left,  are 
the  upper  stories  of  old  timbered  houses,  above  which  a church 
tower  is  seen.  At  the  right,  slightly  indicated,  is  the  upper  part 
of  a tall  building.  In  the  distance  there  are  slight  suggestions  of 
buildings  along  a street  in  which  appears  the  top  of  a lamp-post. 
The  plate  is  unsigned. 

Etching.  Height,  8%  inches;  width,  5%  inches. 

On  the  impression  in  the  Avery  Collection  Whistler  wrote: 
“1877”  and  “Wych  Street,  London.” 

157  LITTLE  SMITHFIELD.  (W.  78.)  On  either  side  of  a narrow 
space  are  tall  irregular  wooden  buildings.  In  front,  at  the  right, 
there  are  two  figures,  facing  each  other.  The  plate  is  unsigned. 
Etching.  Height,  5X  inches;  width,  3^  inches. 

On  the  impression  in  the  Avery  Collection  Whistler  wrote: 
“Little  Smithfield.” 

158  SKETCH  OF  HOUSES.  At  the  right  is  a row  of  houses  with 
gable  ends  to  a street,  across  which  is  a single  house — all  slightly 
indicated,  except  a house  showing  an  oriel  window  and  an  elabo- 
rately etched  roof  with  dormer-windows.  A balcony  with  arches 
projects  beneath  the  eaves  of  the  nearest  house. 

Etching.  Height,  6 inches;  width,  inches. 

Freer  Collection. 

159  TEMPLE  BAR.  (W.  133.)  A sketch  of  the  old  Temple  Bar 
in  the  Strand,  London,  with  suggestions  of  buildings  on  either 
side.  The  plate  is  unsigned. 

Dry-point  and  Etching.  Height,  8^8  inches;  width,  5^  inches. 


97 


whistler’s  etchings  and  dry-points 

First  State:  The  Bar  and  the  buildings  on  either  side  are 
merely  indicated  by  dry-point  outlines. 

Freer  Collection. 

Second  State:  The  upper  part  of  the  Bar  is  more  defined, 
with  indications  of  figures  in  niches,  and  the  arch  below  is 
more  clearly  expressed — all  in  dry-point. 

Freer  Collection. 

Third  State:  The  upper  part  of  the  Bar  is  elaborated,  with 
central  window  and  with  figures  in  the  niches.  The  arches 
over  the  footways  and  the  arch  for  vehicles,  at  the  right  of 
which  is  a lamp-post,  are  well  defined.  Roofs  of  buildings  at 
the  left  and  a church  tower  in  the  distance  at  the  right  are 
added.  In  front,  at  the  right  are  the  head  of  a horse  and  slight 
indications  of  figures,  and  at  the  left  are  a horse  and  a cart. 
Seen  through  the  central  arch  are  another  horse  and  a vehicle 
and  people  on  the  tops  of  busses — nearly  all  in  etching. 
Dutcher,  Freer,  and  Mansfield  Collections. 


60  FREE-TRADE  WHARF.  (W.  134.)  A view  on  the  Thames, 
taken  from  Limehouse.  On  a timbered  wharf  at  the  right  stands 
a large  warehouse,  the  top  loft  of  which  is  open  on  the  river  side 
and  at  the  far  end.  Beyond  narrow  buildings  another  large  ware- 
house, with  many  windows,  is  built  along  a basin  from  which 
projects  the  bow  of  a ship.  From  a square  warehouse  across 
the  basin  stretches  a row  of  irregular  buildings,  in  front  of  which 
lie  numerous  sailing-vessels  and  small  boats.  Out  in  the  river, 
at  the  left,  is  a cluster  of  ships.  Near  the  timbered  wharf  are 
two  rowboats  with  a man  in  each. 

Etching.  Height,  3^  inches;  width,  7X  inches. 

First  State:  The  buildings  are  slightly  shaded  by  vertical 
lines.  Near  the  center  are  a barge  and  two  small  rowboats. 
Clouds  are  indicated  by  a few  irregular  lines  toward  the  top  of 
the  plate.  There  is  no  butterfly. 

98 


whistler’s  etchings  and  dry-points 

Second  State:  Numerous  horizontal  lines  are  added  in  the 
sky,  above  the  shipping  and  lower  buildings.  There  is  no  but- 
terfly. 

Avery  Collection. 

Third  State:  The  larger  buildings  are  heavily  shaded,  the 
square  warehouse  being  very  dark.  The  barge  and  the  small 
boats  near  it  have  been  removed.  Numerous  horizontal  lines 
in  dry-point  are  added  in  the  sky,  above  the  earlier  horizontal 
lines,  and  short  dry-point  lines  are  added  in  the  upper  part  of 
the  sky,  at  the  left.  The  butterfly,  shaded,  is  near  the  left 
lower  corner. 

Avery  and  Benedict  Collections.  On  the  impression  of  this 
state  in  the  Avery  Collection  Whistler  wrote:  “1877”  and 
“From  Limehouse.” 

Fourth  State:  The  lines  added  in  the  upper  part  of  the  sky 
have  been  removed,  and  two  series  of  short  diagonal  lines  are 
added  above  the  large  warehouse  with  windows. 

Fifth  State:  The  later  horizontal  lines  and  the  later  diagonal 
lines  in  the  sky  have  been  removed. 

In  this  state,  published  in  1879,  as  “Free-Trade  Wharf,”  by 
the  Fine  Art  Society,  London. 

161  GREENHITHE.  (W.  135.)  In  front,  at  the  left,  on  a broad 
reach  of  the  Thames,  are  two  rowboats.  In  the  nearest  are  four 
men,  one  of  whom  is  standing;  in  the  boat  next  beyond  are  three 
men.  At  the  center  is  a man  rowing  a boat,  near  which  is  a sloop 
with  furled  sail;  at  the  left,  farther  away,  are  other  rowboats  and 
boats  under  sail.  At  the  right  is  a long  shed  on  a timbered  wharf. 
In  the  distance  there  is  shipping,  between  low  shores,  under  a 
cloudy  sky.  The  butterfly,  shaded,  is  near  the  right  lower  corner. 
Dry-point.  Height,  5%  inches;  width,  8%  inches. 

First  State:  The  sides  of  the  rowboats  are  expressed  by 
lines  running  lengthwise.  The  man  standing  in  the  nearest 


99 


whistler’s  etchings  and  dry-points 

boat  is  imperfectly  defined.  The  clouds  are  mainly  indicated 
by  diagonal  lines,  well  above  the  horizon.  The  shading  of  the 
shed  and  wharf  has  a grayish  effect. 

Mansfield  Collection. 

Second  State:  The  sides  of  the  two  rowboats  at  the  left 
are  shaded  by  short  diagonal  lines.  The  man  standing  in  the 
nearest  boat  is  defined  by  additional  shading.  The  form  of  the 
sail  of  the  most  conspicuous  sailboat  at  the  left  is  changed, 
and  a smaller  sailboat  has  been  removed  from  in  front  of  this 
boat.  The  shed  and  wharf  are  now  strongly  shaded.  Diagonal 
lines  bring  the  heavier  clouds  nearly  to  the  horizon. 
Buckingham  Collection. 

Third  State:  Diagonal  lines  are  added  along  the  side  of  the 
nearest  rowboat  and  on  the  side  and  stern  of  the  rowboat  next 
beyond,  and  what  seemed  a raised  oar  in  that  boat  now  has  the 
appearance  of  a mast.  The  sail  of  the  conspicuous  sailboat  is 
more  strongly  shaded.  There  are  additional  lines  in  the  sky. 
On  the  impression  of  this  state  in  the  Mansfield  Collection 
Whistler  wrote:  “Greenhithe.” 

Catalogued  by  Wedmore  as  “The  Thames  towards  Erith.” 
Greenhithe  is  on  the  Thames,  about  five  miles  below  Erith. 


162  LINDSEY  HOUSES.  (W.  136.)  At  the  right  several  barges, 
two  with  furled  sails,  lie  alongside  the  Chelsea  embankment,  back 
from  which  stands  a row  of  picturesque  old  houses.  Toward  the 
left,  near  the  river  edge,  is  a clump  of  trees;  farther  away  is  a 
bridge,  and  beyond  that,  a church  tower  surmounted  by  a flag- 
pole. The  butterfly,  shaded,  is  above  the  middle  of  the  plate, 
near  the  left  edge. 

Dry-point.  Height,  5%  inches;  width,  8%  inches. 

Lindsey  House,  Chelsea,  built  about  1764,  was  long  ago  divided 
into  separate  houses,  which,  with  additions,  became  Lindsey  Row. 
Mr.  Wedmore  gives  the  date  of  this  print  as  1878. 


100 


whistler’s  etchings  and  dry-points 


First  State:  The  shading  on  the  furled  sails  and  on  the  boats 
and  trees  is  comparatively  slight. 

Freer  Collection.  On  this  impression  Whistler  wrote:  “ist 
State;  only  proof.” 

Second  State:  The  furled  sails  are  shaded  by  short  diagonal 
lines.  Parts  of  the  trees  are  now  emphasized  by  heavy  strokes. 
Benedict  Collection. 

Third  State:  There  is  additional  shading  on  the  roofs  of  the 
houses  and  on  the  hulls  of  the  boats,  and  the  trees  are  quite 
uniformly  shaded  by  fairly  long  diagonal  lines. 

Avery  and  Mansfield  Collections.  On  the  impression  in  the 
Avery  Collection  Whistler  wrote:  “Lindsay  Houses.” 

Fourth  State:  The  topmast  of  the  barge  at  the  extreme 
right  has  been  redrawn,  and  its  halyards  are  extended  in  two 
lines  nearly  to  the  crosstree.  Numerous  fine  lines  are  added 
throughout  the  furled  sails  of  the  two  barges.  The  reflections 
of  the  barges  are  strengthened. 

Catalogued  by  Wedmore  as  “Lindsay  Houses.” 

163  FROM  PICKLE-HERRING  STAIRS.  (W.  137.)  Seen  at  the 
right,  on  a broad  reach  of  the  Thames,  there  is  a group  of  fishing- 
smacks  with  furled  sails,  lying  near  a long  low  warehouse.  At 
the  left,  in  front  are  two  rowboats;  beyond  are  two  barges,  and 
near  the  second  barge  is  a rowboat  in  which  are  two  men.  Far- 
ther away  a steamer  is  moored  at  a quay  upon  which  stands  a 
row  of  high  buildings.  In  the  distance  is  a confusion  of  shipping, 
under  a clouded  sky.  The  butterfly,  shaded,  is  near  the  right 
lower  corner. 

Etching.  Height,  5%  inches;  width,  8%  inches. 

First  State:  The  clouds  are  lightly  sketched,  and  behind  the 
fishing-smacks  the  clouds  are  scarcely  seen.  The  warehouse  is 
white.  The  side  of  the  barge  next  the  rowboat  with  the  two 
men  is  unshaded,  and  the  two  boats  in  front  are  in  outline. 

101 


whistler’s  etchings  and  dry-points 


Avery,  Benedict,  and  Buckingham  Collections.  On  the  im- 
pression in  the  Avery  Collection  Whistler  wrote:  “Pickle- 

Herring  Stairs”  and  “Touched  proof.” 

Second  State:  A few  slight  suggestions  of  clouds  are  added  in 
dry-point  behind  the  fishing-smacks.  The  side  of  the  nearest 
rowboat  is  shaded  for  half  its  length. 

Third  State:  A few  diagonal  lines  are  added  in  dry-point  be- 
hind the  fishing-smacks.  Both  rowboats  in  front  are  shaded 
for  their  whole  length. 

Lathrop  Collection. 

Fourth  State:  Numerous  diagonal  lines  are  added  in  dry- 
point  behind  the  fishing-smacks.  The  side  of  the  barge  next 
the  rowboat  with  the  two  men  is  shaded. 

Mansfield  Collection. 

Fifth  State:  One  side  of  the  warehouse  is  shaded  by  two 
rows  of  vertical  lines.  There  are  additional  lines  in  the  sky, 
which  is  heavier  throughout.  The  sides  of  the  boats  in  front 
are  more  strongly  shaded,  and  there  is  more  work  on  the  ship- 
ping in  the  distance. 

164  A VIEW  FROM  BILLINGSGATE.  (W.  130.)  At  the  right 
are  three  large  barges  near  a timbered  wharf,  beyond  which  a 
number  of  vessels  are  lying.  At  the  left  is  the  projecting  bow  of 
a large  ship,  about  which  numerous  barges  and  other  boats  are 
grouped.  Beyond  a clear  space  of  water  is  a row  of  warehouses, 
in  front  of  which  is  more  shipping. 

Dry-point.  Height,  5^  inches;  width,  8}i  inches. 

First  State:  The  three  barges  at  the  right  are  in  outline. 
There  is  a slight  suggestion  of  a figure  on  the  nearest  barge. 
The  stern  of  a barge  without  a mast  appears  at  the  end  of  the 
wharf.  The  warehouses  are  all  merely  outlined.  There  are 
traces  of  an  earlier  drawing  of  a ship  at  the  left.  There  is  no 
butterfly. 


102 


whistler’s  etchings  and  dry-points 


Second  State:  There  are  three  figures  on  the  wharf  and  three, 
slightly  indicated,  on  the  second  barge  at  the  right.  A mast, 
rigged  and  flying  a long  pennant,  is  added  to  the  barge  at  the 
end  of  the  wharf.  There  is  more  work  upon  the  large  ship,  on 
which  figures  appear.  The  warehouses  are  more  defined  and 
there  is  another  vessel  in  front  of  them.  There  is  no  butterfly. 
Freer  and  Benedict  Collections. 

Third  State:  Traces  of  the  earlier  drawing  of  a ship  have  been 
wholly  removed.  Shading  is  added  on  the  warehouses  and  on 
the  ship,  and  on  all  of  the  boats  and  barges,  except  the  barge 
next  the  wharf. 

Fourth  State:  The  figure  on  the  nearest  of  the  three  barges 
is  more  defined.  Shading  is  added  on  the  wharf,  on  the  barge 
next  the  wharf  and  on  the  warehouses.  Reflections  of  the 
ship  and  nearest  barge  are  extended.  The  butterfly,  shaded, 
is  at  the  lower  edge  of  the  plate,  near  the  right  corner. 
Mansfield  Collection. 

Fifth  State:  The  figure  on  the  nearest  barge  is  changed  and 
made  taller.  The  wharf  is  heavily  shaded,  and  there  is  ad- 
ditional work  throughout  the  plate.  The  foreskysail-stay  of 
the  large  ship  has  been  partly  removed. 

Avery  Collection.  On  the  impression  in  this  collection  Whist- 
ler wrote:  “From  Billingsgate”  and  “78.” 

Sixth  State:  The  foreskysail-stay  has  been  redrawn,  and  ad- 
ditional lines  appear  here  and  there  throughout  the  plate. 


165  ST.  JAMES’S  STREET.  (W.  140.)  A view  down  St.  James’s 
Street,  London,  with  St.  James’s  Palace  at  the  lower  end.  The 
buildings  on  the  right  are  seen  higher  and  nearer  than  those  on 
the  left.  In  the  street  are  numerous  vehicles  and  pedestrians, 
and  in  the  foreground  at  the  left  is  a policeman. 

Etching. 

The  buildings  are  shown  in  the  reverse  of  their  actual  location. 


03 


whistler’s  etchings  and  dry-points 


First  State:  There  is  a blank  space,  nearly  an  inch  in  width, 
along  the  right  edge  of  the  plate.  There  is  no  butterfly. 
Benedict,  Buckingham,  Freer,  and  Scholle  Collections. 
Height,  io^$  inches;  width,  inches. 

Second  State:  Clouds  are  added  near  the  left  upper  corner. 
Freer  Collection. 

Third  State:  The  butterfly,  shaded,  is  near  the  left  lower 
corner. 

Lathrop  Collection. 

Fourth  State:  The  clouds  in  the  left  upper  corner  have  dis- 
appeared. The  plate  has  been  cut  down  at  the  right. 
Height,  io^-g  inches;  width,  6 inches. 

A reproduction  of  the  last  state  of  this  etching,  in  reverse,  ap- 
peared in  “Vanity  Fair,”  London,  July  2,  1878,  entitled  “St. 
James’s  Street — June,  1878,”  with  “J.  A.  McNeill  Whistler” 
lithographed  in  script  below  the  print,  at  the  left. 


166  LORD  WOLSELEY.  (W.  138.)  A quarter-length  portrait  of 
the  soldier  in  civilian’s  dress.  The  face,  with  moustache  and 
imperial,  is  seen  in  profile,  looking  to  the  left.  There  is  shading 
in  the  background. 

Dry-point.  Height,  ii^  inches;  width,  6 inches. 

First  State:  There  are  slight  vertical  lines  above  the  fore- 
head and  strong  vertical  lines  above  the  head,  at  the  right,  and 
many  strong  diagonal  lines  each  side  of  the  head.  There  is 
no  butterfly. 

Freer  Collection. 

Second  State:  Vertical  lines  are  added  above  the  forehead, 
and  numerous  strong  diagonal  lines  at  the  left  of  the  body. 
There  is  no  butterfly. 

Third  State:  A number  of  curving  lines  are  added  above 
the  forehead,  and  a few  long  vertical  lines  near  the  left  edge  of 


104 


whistler’s  etchings  and  dry-points 


the  plate.  The  butterfly,  in  outline,  is  above  the  middle  of  the 
plate,  near  the  left  edge. 

Wrenn  Collection. 

Fourth  State:  The  line  of  the  left  arm  is  extended  below 
the  elbow,  and  numerous  vertical  lines  are  added  near  the  top  of 
the  plate,  and  diagonal  lines  each  side  of  the  head  and  shoulders. 
Mansfield  and  Vanderbilt  Collections. 

Fifth  State:  Numerous  curving  lines  are  added  each  side  of 
the  head,  and  several  vertical  lines  are  added  at  the  left. 

Freer  Collection. 

167  IRVING  AS  PHILIP  OF  SPAIN.  No.  1.  (W.  139.)  The 

actor  is  standing  at  the  left,  facing  nearly  front,  with  body  turned 
slightly  to  the  left  and  legs  wide  apart,  his  left  hand  raised  to  his 
breast  and  his  right  arm  hanging  by  his  side.  He  wears  a hat 
with  high  peak  and  white  plume,  and  a short  cloak  falls  from  his 
shoulders.  In  the  background  is  shading  that  stops  an  inch  and 
a half  from  the  right  edge  of  the  plate.  The  plate  is  unsigned. 
Dry-point.  Height,  8^5  inches;  width,  6 inches. 

Whistler  had  painted  an  oil  portrait  of  Sir  Henry  Irving  as  Philip 
of  Spain,  which  was  exhibited  in  London,  at  the  Grosvenor 
Gallery,  in  1877. 

First  State:  The  shading  in  the  background  at  the  left  of  the 
figure  is  for  the  most  part  in  parallel  diagonal  lines  and  in  the 
upper  part  of  the  plate.  A space  in  the  left  upper  corner  is 
free  from  lines.  The  shading  at  the  right  is  in  vertical  lines. 
Freer  Collection. 

Second  State:  Diagonal  lines  are  added  in  the  shading  at  the 
left,  crossing  the  earlier  lines.  Vertical  lines  are  added  in  the 
space  in  the  left  upper  corner. 

Third  State:  Diagonal  lines  are  added  in  the  lower  part  of 
the  plate,  at  the  left  of  the  figure. 

Benedict  Collection. 

105 


whistler’s  etchings  and  dry-points 


Fourth  State:  Diagonal  lines  are  added  throughout  the 
shading  in  the  background  at  the  left,  and  the  lines  at  the 
right,  below  the  cloak,  are  extended.  There  is  further  work 
on  the  figure. 

Freer  Collection. 

Fifth  State:  There  is  still  more  work  on  the  figure.  Numer- 
ous fine  diagonal  lines  are  added  in  the  background  at  the  left, 
and  fine  horizontal  lines  in  the  background  at  the  right. 


1 68  IRVING  AS  PHILIP  OF  SPAIN.  No.  2.  He  is  standing  near 
the  center,  facing  front,  with  his  left  hand  raised  to  his  breast,  his 
right  arm  extended  somewhat  from  his  side.  He  wears  a hat 
with  a white  plume,  and  a short  cloak  falls  from  his  shoulders. 
In  the  background  there  is  shading  which  stops  an  inch  and  an 
eighth  from  the  right  edge  of  the  plate.  The  plate  is  unsigned. 
Dry-point.  Height,  8y  inches;  width,  y/2  inches. 

First  State:  In  the  background  there  are  short  diagonal 
lines  above  the  right  shoulder,  and  short  vertical  lines  around 
the  head,  and  long  vertical  lines  at  the  right  of  the  figure. 

Second  State:  Strong  diagonal  lines  are  added  in  the  back- 
ground, above  the  head  and  each  side  of  the  head  and  shoulders, 
and  a few  short  lines  are  added  on  the  body,  above  and  below 
the  left  arm.  Indications  of  the  right  arm  have  for  the  most 
part  disappeared. 

Parker  Collection. 

Third  State:  Vertical  and  diagonal  lines  are  added  in  the 
background  at  the  left. 


169  WHISTLER  WITH  THE  WHITE  LOCK.  (W.  142.)  Near 
the  top  of  the  plate  the  head  and  shoulders  of  the  artist  are 
slightly  sketched,  brought  into  relief  by  shading  in  the  back- 
ground. The  head  is  turned  somewhat  to  the  left,  but  the  eyes 

106 


whistler’s  etchings  and  dry-points 


look  to  the  front,  and  the  white  lock  is  conspicuous.  The  plate 
is  unsigned. 

Dry-point.  Height,  4^4  inches;  width,  3 ]4  inches. 

170  THE  TINY  POOL.  (W.  73.)  Grouped  about  two  mooring-posts 
near  a wharf  at  the  right,  are  a number  of  Thames  barges,  on 
one  of  which,  two  men  are  standing.  Across  a space  of  open 
water  are  steamboats  and  other  vessels,  beyond  which  is  a row 
of  buildings. 

Etching.  Height,  ^J4  inches;  width,  2 $4  inches. 

First  State:  The  posts  and  barges  in  front  have  little  shading. 
The  side  of  the  nearest  vessel  across  the  water  is  expressed  by 
horizontal  lines.  The  buildings  are  slightly  shaded  by  vertical 
lines.  There  are  a few  lines  in  the  sky.  There  is  no  butterfly. 
Avery  Collection.  On  the  impression  in  this  collection  Whist- 
ler wrote:  “The  Pool,  No.  3.” 

Second  State:  Lines  are  added  on  the  posts,  and  there  is 
strong  shading  on  the  side  and  stern  of  the  barge  just  beyond 
the  posts.  There  is  no  butterfly. 

Mansfield  Collection. 

Third  State:  A few  short  vertical  lines  are  added  on  the  two 
barges  in  front  and  on  the  farthest  barge  of  the  group.  Short 
horizontal  lines  indicate  reflections  of  the  barge  between  the 
posts  and  of  the  next  barge  beyond.  The  butterfly,  shaded,  is 
at  the  edge  of  the  plate,  near  the  right  lower  corner. 

Benedict  Collection. 

Fourth  State:  Rows  of  short  lines  are  added  on  all  the  barges 
in  front  of  the  posts,  and  the  stern  and  covering  of  the  barge 
between  th^posts  are  heavily  shaded.  The  reflections  of  the 
barges  are  strengthened.  Short  diagonal  lines  shade  the  side 
of  the  nearest  vessel  across  the  water.  Short  horizontal  lines 
are  added  on  the  post  at  the  left  and  on  the  wharf-post,  and 
there  is  cross-hatching  on  the  buildings.  Vessels  are  added 

107 


whistler’s  etchings  and  dry-points 


in  the  distance  at  the  right,  and  there  is  additional  work  on  the 
other  vessels.  The  lines  in  the  sky  have  vanished. 


THE  LARGE  POOL.  (W.  143.)  A scene  on  the  Thames  below 
London  Bridge.  In  front,  near  a wharf  at  the  left,  there  are  eight 
barges,  in  one  of  which  is  a group  of  seated  figures.  Out  on  the 
wide  water  clustered  vessels  lie  at  anchor.  At  the  left  of  these 
is  a man  in  a rowboat.  At  the  right  is  a boat  under  sail,  beyond 
which  are  other  boats.  On  each  side  of  the  river  is  a row  of 
warehouses.  There  is  shipping  in  front  of  the  warehouses  at 
the  left,  and  in  the  distance. 

Etching.  Height,  7345  inches;  Width,  10^8  inches. 

Lirst  State:  The  side  of  the  barge  next  beyond  that  in  which 
there  are  figures  is  slightly  shaded  by  parallel  lines.  The  sail 
of  the  boat  at  the  right  is  only  partly  shaded.  The  wall  of  a 
building  with  four  square  windows  on  the  right  bank  is  en- 
tirely white.  The  buildings  at  the  left  are  slightly  indicated 
and  lack  shading.  There  is  no  butterfly. 

Benedict  and  Lathrop  Collections. 

Second  State:  The  side  of  the  barge  next  that  in  which  there 
are  figures  is  heavily  shaded,  and  the  buildings  at  the  left  are 
slightly  shaded.  There  is  no  butterfly. 

Dickerman  Collection. 

Third  State:  A roof  is  added  on  the  nearest  building  at  the 
left,  and  the  shading  on  the  building  is  changed.  The  build- 
ings beyond  are  more  defined.  Strong  diagonal  lines,  drawn 
from  right  to  left,  are  added  on  the  side  of  the  barge  next  that 
in  which  there  are  figures,  and  on  the  stern  of  the  barge  farthest 
out.  The  butterfly,  shaded,  is  on  the  wharf  at  the  left. 
Avery  Collection.  On  the  impression  in  this  collection  Whist- 
ler wrote:  “Wapping — the  Pool.” 

Lourth  State:  Shading  is  added  on  the  sides  of  the  two  outer 
barges  and  on  the  side  and  deck-load  of  the  boat  under  sail. 

108 


whistler’s  etchings  and  dry-points 

The  sails  of  the  boat  are  now  shaded  throughout,  and  the  mast 
is  lengthened  and  flies  a long  pennant.  The  buildings  at  the 
left  are  more  defined.  One  half  of  the  wall  of  the  building  with 
square  windows  at  the  right  is  shaded.  Short  dry-point  lines 
are  added  in  the  sky,  including  seven  short  horizontal  lines 
toward  the  left  upper  corner. 

Freer  and  Mansfield  Collections. 

Fifth  State:  There  are  now  thirteen  short  horizontal  lines, 
instead  of  seven,  in  the  sky  at  the  left. 


172  THE  “ADAM  AND  EVE,”  OLD  CHELSEA.  (W.  144.)  At 
the  right,  bordering  the  beach  of  the  Thames  at  old  Chelsea,  is  a 
row  of  picturesque  buildings,  beyond  which  rises  the  dark  tower 
of  a church,  surmounted  by  a flagpole.  On  the  beach  a rowboat 
and  a number  of  barges,  some  with  furled  sails,  lie  stranded,  and 
in  front  a man  is  standing.  Foliage  bounds  the  distance  at  the 
left.  The  third  building  away,  in  which  are  three  large  square 
windows,  bears  the  sign:  “The  Adam  and  Eve.  Wine  and 
Spirit  Estab.”  Upon  a square  building  beyond  appear:  “Old 
Ferry  Wharf.  J.  Johnson,  Coal  Merchant.” 

Etching.  Height,  6 yi  inches;  width,  1 ij4  inches. 

First  State:  There  is  no  shading  on  the  bow  of  the  second 
barge  of  the  group  with  sails,  and  only  slight  shading  on  the 
farthest  barges  and  on  the  foliage.  There  is  no  butterfly. 
Freer  Collection. 

Second  State:  The  bow  of  the  barge  in  the  group  with  sails 
is  shaded  with  dry-point  lines,  and  strong  shading  is  added  on 
the  distant  barges  and  foliage.  The  butterfly,  shaded,  is  in 
the  sky,  abova*the  church  tower. 

On  the  impression  of  this  state  in  the  Avery  Collection  Whist- 
ler wrote:  “The  'Adam  and  Eve’ — Old  Chelsea.” 

In  this  state,  published  in  London,  in  1879,  by  Messrs.  Hogarth 
and  Son. 


109 


whistler’s  etchings  and  dry-points 

173  UNDER  OLD  BATTERSEA  BRIDGE.  (W.  225,  Sup.  280.) 
Wooden  piers  and  a suggestion  of  flooring  form  one  arch  of  the 
bridge,  under  which  are  seen  boats  and  a suspension-bridge  and, 
at  the  right,  houses  and  a church  tower.  The  plate  is  unsigned. 
Etching.  Height,  8y&  inches;  width,  5 inches. 

First  State:  The  flooring  is  suggested  by  an  outline  with  four 
horizontal  strokes  above.  The  suspension-bridge  is  in  outline, 
and  the  boats,  houses  and  church  tower  are  slightly  indicated. 
The  sky  is  free  from  clouds. 

Avery,  Freer,  and  Mansfield  Collections.  On  the  impression  in 
the  Avery  Collection  Whistler  wrote:  “Under  Old  Battersea 
Bridge”  and  “ 1879.” 

Second  State  : The  flooring  is  indicated  by  numerous  lines,  and 
there  is  much  additional  work  on  the  piers.  The  suspension- 
bridge  is  fully  defined.  Strong  dry-point  shading  is  added  on 
the  boats,  houses  and  church  tower.  Three  layers  of  light 
clouds  are  indicated. 

Third  State:  A few  dry-point  lines  are  added  in  the  sky, 
above  earlier  etched  lines,  just  below  the  arch  of  the  bridge. 

Fourth  State:  Diagonal  lines  in  dry-point  are  added  in  the 
sky,  above  the  suspension-bridge. 

Catalogued  by  Wedmore  as  “Sketch  of  Battersea  Bridge.” 


174  OLD  BATTERSEA  BRIDGE.  (W.  141.)  In  the  middle  dis- 
tance, and  extending  across  the  scene,  is  the  great  wooden  bridge 
which,  until  1880,  spanned  the  Thames  at  Battersea.  Through 
the  broad  central  span  appears  a barge  under  sail.  Beyond,  the 
river  bank,  lined  with  buildings  and  trees,  stretches  to  the  re- 
mote distance.  People  and  vehicles  are  crossing  the  bridge. 
Etching.  Height,  7 inches;  width,  1 1 $4  inches. 

First  State:  A blank  space  extends  across  the  lowest  stories 
of  the  buildings  seen  immediately  at  the  left  of  the  sail,  and 


I 10 


whistler’s  etchings  and  dry-points 

outlines  of  buildings  appear  within  the  borders  of  the  sail.  The 
sky  is  free  from  clouds.  There  is  no  butterfly. 

v Second  State:  A large  butterfly,  shaded,  is  below  the  span  at 
the  right,  an  inch  and  three-quarters  from  the  bottom  of  the 
plate. 

Buckingham  Collection.  On  the  impression  in  this  collection 
Whistler  wrote:  “2nd  State,  Only  proof.” 

Third  State:  Traces  of  buildings  have  been  almost  wholly 
removed  from  the  space  within  the  borders  of  the  sail.  The 
large  butterfly  has  been  removed,  and  a small  butterfly,  shaded, 
is  placed  below  the  second  pier  from  the  right,  an  inch  and  an 
eighth  from  the  bottom  of  the  plate. 

Dick,  Freer,  and  Lathrop  Collections. 

Fourth  State:  The  space  across  the  lowest  stories  of  the 
buildings  at  the  left  of  the  sail  has  been  filled  in,  and  there  is 
additional  shading  on  all  the  buildings.  There  are  slight  clouds 
in  the  sky.  The  small  butterfly  has  been  removed,  and  a 
large  butterfly,  shaded,  differing  but  slightly  from  the  first,  is 
where  that  was,  below  the  span  at  the  right. 

Benedict  and  Mansfield  Collections. 

Fifth  State:  Clouds  are  added  below  the  arches  of  the  bridge, 
those  seen  through  the  span  at  the  right  forming  two  layers. 
In  this  state,  published  in  London,  in  1879,  by  the  Fine  Art 
Society. 

75  OLD  PUTNEY  BRIDGE.  (W.  145.)  In  the  middle  distance,  ex- 
tending across  the  scene,  is  the  bridge  which,  until  1880,  spanned 
the  Thames  at  Pitney.  Supporting  it  are  two  iron  columns  at 
the  right,  and  a slight  wooden  pier  at  the  left,  and  three  central 
wooden  piers  of  intricate  construction.  On  the  bridge  there  are 
people  and  vehicles.  In  front,  at  the  left,  there  are  two  row- 
boats, in  one  of  which  a man  and  a woman  are  seated.  At  the 
right  a barge  with  steering-sail  set  is  passing  under  an  arch  of 


whistler’s  etchings  and  dry-points 

the  bridge,  through  which  there  appears  a boat  with  a sail,  white 
against  a wooded  bank.  Trees  and  a house  are  seen  on  the  low 
bank  at  the  left.  The  butterfly  is  near  the  lower  edge  of  the 
plate,  at  the  right  of  the  center. 

Etching.  Height,  7 yi  inches;  width,  \\%  inches. 

First  State:  The  foliage  at  the  left  is  slightly  indicated.  The 
butterfly  is  in  outline. 

Freer  Collection. 

Second  State:  The  foliage  at  the  left  is  more  fully  expressed. 
Horizontal  lines  are  added  in  the  reflections  of  the  bridge,  and 
vertical  lines  in  the  reflections  along  the  river  banks.  The 
etching  is  strengthened  throughout. 

Freer  Collection.  On  the  impression  now  in  this  collection,  for- 
merly in  the  Haden  Collection,  Haden  wrote:  “Early  proof 
of  finished  plate  with  open  monogram — one  of  first  so  printed 
by  artist.” 

Third  State:  The  reflections  of  the  foliage  are  redrawn.  The 
butterfly  is  shaded. 

On  the  impression  of  this  state  in  the  Avery  Collection  Whist- 
ler wrote:  “Old  Putney  Bridge.” 

In  this  state,  published  in  London,  in  1879,  by  the  Fine  Art 
Society. 

Fourth  State:  Numerous  short  lines  are  added  in  the  water 
at  the  right,  below  the  bridge. 

Exhibited  at  the  Royal  Academy  in  1879,  as  “Old  Putney  Bridge.” 

76  THE  LITTLE  PUTNEY.  No.  1.  (W.  146.)  On  a bank  of  the 

Thames  at  the  right,  houses  arc  grouped  near  a church  tower 
which  rises  behind  a clump  of  trees.  A bridge  with  wooden  piers, 
except  where  the  broad  central  arch  is  upheld  by  iron  columns, 
crosses  the  river,  in  which  the  bridge  is  reflected.  A wooded 
shore  is  seen  through  the  arches. 

Etching.  Height,  5^  inches;  width,  8%  inches. 


whistler’s  etchings  and  dry-points 


First  State:  Seen  through  the  arch  at  the  extreme  left,  there 
is  merely  a suggestion  of  foliage.  There  is  no  butterfly. 
Mansfield  Collection. 

Second  State:  A barge  under  sail  is  added  beyond  the  arch 
at  the  left,  and  the  foliage  seen  through  the  arch  is  strongly 
expressed.  The  butterfly,  shaded,  is  on  the  lower  part  of  the 
plate,  at  the  right. 

In  this  state,  published  in  London,  in  1879,  by  The  Fine  Art 
Society,  with  the  stamp  of  the  Printsellers’  Association. 

It  was  re-issued  in  “Four  Masters  of  Etching,”  by  Frederick 
Wedmore,  published  by  the  Fine  Art  Society,  London,  1883. 


177  THE  LITTLE  PUTNEY.  No.  2.  (W.  226,  Sup.  278.)  From 

a large  house  on  the  Thames-side  at  the  right,  an  iron  pier,  under 
which  lies  a barge,  projects  into  the  river.  The  bank  beyond  is 
wooded.  In  the  stream  are  three  barges,  one  with  furled  sails. 
Etching.  Height,  4H  inches;  width,  7^  inches. 

First  State:  There  is  no  butterfly. 

Avery  Collection.  On  the  impression  in  this  collection  Whist- 
ler wrote:  “The  Little  Putney.” 

Second  State:  The  butterfly,  shaded,  is  near  the  bottom  of 
the  plate,  at  the  right. 

Mansfield  Collection. 

Third  State:  In  the  left  lower  corner:  “The  Little  Putney,” 
apparently  added  by  another  hand  than  Whistler’s. 

Mr.  Wedmore  says  that  the  plate  was  etched  for  the  French 
publication  “L’Art”;  but  it  was  not  published  in  “L’Art.” 
Catalogued  by  Wedmore  as  “ Putney:  Number  Three.” 

178  HURLINGHAM.  (W.  147.)  A scene  on  the  Thames,  above 
London.  In  the  middle  distance  a long  line  of  boats,  two  with 
large  sails  and  one  with  a small  sail,  extends  across  the  scene. 

1 13 


whistler's  etchings  and  dry-points 


The  boats  and  sails  are  strongly  reflected  in  the  stream.  On  the 
river  bank  at  the  left  are  two  tall  adjoining  houses,  a three-story 
house  with  many  windows  and,  among  trees  which  extend  along 
the  bank,  two  other  buildings.  The  butterfly,  shaded,  is  near 
the  left  lower  corner  of  the  plate. 

Etching.  Height,  5 inches;  width,  7 inches. 

First  State:  The  three-storied  house  is  white.  There  is  a 
strong  irregular  line  in  the  sky  at  the  left. 

Second  State:  The  three-storied  house  is  shaded  throughout, 
and  there  is  additional  work  on  the  boats  and  trees.  The  irreg- 
ular line  in  the  sky  is  broken  and  suggests  a flight  of  birds. 

In  this  state,  published  in  London  in  1879,  bearing  the  stamp 
of  the  Printsellers’  Association. 


179  FULHAM.  (W.  148.)  From  an  embankment  of  the  Thames 
at  the  right,  on  which  stands  a large  house  between  two  trees, 
a bridge  with  wooden  piers  and  wide  central  span  extends  com- 
pletely across  the  scene.  A long  barge  lies  out  in  the  stream  at 
the  left;  two  barges  are  near  the  bridge,  and  barges  lie  stranded  on 
the  sloping  shore.  Beyond,  at  the  right,  there  rises  a dark  church 
tower.  Seen  through  the  arches  are  a steamboat  landing-stage, 
houses  on  an  embankment,  and  a suspension-bridge.  The  butter- 
fly, shaded,  is  near  the  bottom  of  the  plate,  at  the  right. 

Etching.  Height,  5%  inches;  width,  8 inches. 

First  State:  The  foliage  of  the  two  trees  is  meagre.  The  re- 
flections of  the  church  tower  and  bridge-piers  are  very  slight. 
The  sides  of  the  barges  in  the  stream  are  chiefly  expressed  by 
horizontal  lines.  There  is  no  shading  on  the  distant  objects. 
Freer  and  Mansfield  Collections.  On  the  impression  in  the 
Freer  Collection,  formerly  in  the  Haden  Collection,  Haden 
wrote:  “1st  State — only  two  taken.” 

Second  State:  The  tree  at  the  left  of  the  house  is  enlarged. 
The  reflections  are  strengthened  by  numerous  horizontal  lines. 

114 


whistler’s  etchings  and  dry-points 

Vertical  lines  are  added  on  the  sides  of  the  barges  and  on  the 
distant  embankment. 

Freer  Collection.  On  the  impression  in  this  collection,  for- 
merly in  the  Haden  Collection,  Haden  wrote:  “Second  trial 
from  the  plate.” 

Third  State:  Strong  horizontal  lines  are  added  in  the  water, 
above  the  butterfly. 

Freer  Collection.  On  the  impression  in  this  collection,  for- 
merly in  the  Haden  Collection,  Haden  wrote:  “Third  trial 
printed  by  artist  and  impression  set  off,”  and  “3d  state,  set  off 
while  wet.” 

Fourth  State:  There  is  additional  work  on  the  foliage  of  the 
tree  at  the  left,  and  on  the  embankment  and  distant  houses. 

In  this  state,  published  in  London  in  1879,  bearing  the  stamp 
of  the  Printsellers’  Association. 

V/180  THE  LITTLE  VENICE.  (W.  149.)  In  the  distance,  beyond 
a broad  lagoon,  Venice  with  its  domes  and  campaniles  lies  out- 
stretched under  a slightly  clouded  sky.  A large  ship  lies  close 
to  the  city,  and  gondolas  pass  here  and  there  upon  the  lagoon. 
Several  posts  rise  out  of  the  water,  in  which  buildings,  boats, 
and  posts  are  reflected.  The  butterfly,  shaded,  is  on  the  water, 
toward  the  left  lower  corner  of  the  plate. 

Etching.  Height,  7X  inches;  width,  10^  inches. 

One  of  “Twelve  Etchings”  entitled  “Venice,”  published  in  1880 
by  The  Fine  Art  Society,  London. 

J 

j y 181  NOCTURNE.  (W.  150.)  At  the  right,  seen  across  the  Bay  of 
Venice,  is  the  isYand  of  San  Giorgio,  above  which  rise  the  dome 
and  the  campanile  of  the  church.  At  the  left  a large  vessel  with 
three  masts  lies  at  anchor.  At  the  extreme  left  rises  the  dome 
of  another  church.  In  the  distance  is  a line  of  shipping.  The 
plate  is  unsigned. 


i*5 


whistler’s  etchings  and  dry-points 

Etching.  Height,  7J/&  inches;  width,  11  inches. 

The  church  at  the  left  is  doubtless  the  Redentore,  since,  as  a rule 
at  least,  the  Venice  etchings  were  etched  without  attempt  to 
reverse  objects  on  the  plate;  consequently  the  prints  do  not  show 
buildings  in  their  true  location. 

First  State:  The  reflections  of  the  buildings  are  indicated 
chiefly  by  vertical  lines,  and  of  the  ship  by  vertical  lines  and 
short  horizontal  lines.  There  are  long  horizontal  lines  in  the 
water,  below  the  reflections  of  the  ship.  The  sky  is  clear. 
There  are  no  gondolas. 

Freer  Collection. 

Second  State:  Strong  diagonal  lines  are  added  in  the  sky, 
near  the  right  upper  corner  of  the  plate,  and  numerous  fine 
horizontal  lines  above  buildings  on  each  side  of  the  campanile. 
Vertical  lines  are  added  in  the  water,  at  the  right.  Two  large 
gondolas  are  added  in  front  of  the  ship,  and  four  small  gondolas 
beyond  the  middle  distance.  There  is  additional  work  on  the 
hull  of  the  ship. 

Freer  Collection. 

Third  State:  The  two  large  gondolas  have  been  removed  and 
the  lines  in  the  sky  reduced.  Numerous  horizontal  lines  are 
added  in  the  water,  below  the  earlier  horizontal  lines.  Fine 
dry-point  lines  are  added  about  the  ship  and  above  the  build- 
ings on  either  side, 

Avery  and  Freer  Collections. 

In  this  state,  one  of  the  “Twelve  Etchings.” 

Fourth  State:  The  lines  in  the  sky  and  the  horizontal  lines 
near  the  bottom  of  the  plate  have  been  almost  wholly  removed. 
The  full  effect  of  a nocturne  appears  in  impressions  of  the 
third  and  fourth  states. 


82  THE  LITTLE  MAST.  (W.  151.)  At  the  farther  end  of  a broad 
piazza,  opening  past  a building  on  the  right,  stands  a tall  Vene- 

1 16 


whistler’s  etchings  and  dry-points 

tian  mast  with  halyards  looped  to  the  roof  of  one  of  a row  of 
buildings  at  the  left.  Back  of  the  mast  a balustrade  bordering 
a canal  leads  to  a bridge,  beyond  which  the  masts  of  a ship  are 
seen.  On  the  canal  is  a boat  under  sail,  and  on  the  farther  bank 
of  the  canal  are  buildings.  In  the  foreground  is  a group  of  chil- 
dren. Two  figures  are  seated  by  the  wall  of  the  building  at  the 
right.  In  front  of  the  farthest  building  at  the  left  is  a group 
seated  at  a table,  and  there  are  other  people  about  the  piazza. 
There  are  light  clouds  in  the  sky.  The  butterfly,  shaded,  is  on 
the  upper  part  of  the  plate,  near  the  right  edge. 

Etching.  Height,  ioy^  inches;  width,  7 yA  inches. 

Mr.  Pennell  says:  “ Via  Garibaldi — near  the  Public  Garden.” 

First  State:  The  features  of  the  children  in  the  foreground 
are  undefined.  A woman  stands  behind  the  seated  group. 
On  the  sail  there  is  shading  at  the  peak  and  shading  below, 
crossing  the  sail,  and  shading  near  the  bottom.  There  are  no 
reflections  in  the  canal. 

Dick,  Freer,  and  Vanderbilt  Collections. 

In  this  state,  one  of  the  “Twelve  Etchings.” 

Second  State:  The  woman  behind  the  seated  group  has  been 
removed.  The  shading  on  the  peak  of  the  sail  has  been  taken 
out.  Shading  is  added  across  the  sail,  below  the  earlier  shading. 

Third  State:  Shading  is  added  on  the  peak  of  the  sail,  and 
reflections  appear  in  the  canal.  Work  is  added  on  the  rigging 
of  the  ship.  The  features  of  the  children  are  expressed. 


83  THE  LITTLE  LAGOON.  (W.  152.)  In  front,  at  the  left,  are 
two  posts  set  in  the  lagoon.  Farther  away,  at  the  right,  a boat- 
man is  rowing  kis  gondola.  Beyond,  in  the  center,  lies  a boat 
with  two  masts,  near  which  a number  of  gondolas  are  in  motion. 
In  the  distance,  at  the  left,  are  buildings  on  a beach,  in  front 
of  which  lie  a ship  and  a second  boat  with  two  masts.  Faintly 
outlined  on  the  horizon  are  suggestions  of  Venice,  under  a cloudy 


whistler’s  etchings  and  dry-points 

sky.  The  butterfly,  shaded,  is  near  the  right  lower  corner  of 
the  plate. 

Etching.  Height,  8%  inches;  width,  6 inches. 

First  State:  The  canopy  and  prow  of  the  nearest  gondola, 
and  the  reflections  they  cast,  are  but  slightly  indicated. 

Second  State:  The  canopy  and  prow  of  the  nearest  gondola 
are  well  defined  and  cast  strong  reflections. 

In  this  state,  one  of  the  “Twelve  Etchings.” 

84  THE  PALACES.  (W.  153.)  In  the  center,  seen  across  a wide 
canal,  is  a large  palace  of  Venetian  Gothic  with  two  doorways. 
Above  the  larger  doorway  is  a row  of  round-arched  windows, 
below  a balcony  of  elaborate  design.  Adjoining  at  the  right  is 
a smaller  palace,  similar  in  style,  with  a single  doorway,  above 
which  are  two  balconies.  At  the  extreme  right  is  an  iron  gate- 
way, beyond  which  are  tall  buildings.  At  the  left  is  a traghet- 
to,  in  front  of  a piazza  bordered  with  buildings.  About  the 
traghetto  and  in  front  of  both  palaces  are  numerous  gondolas. 
Etching.  Height,  10  inches;  width,  14X  inches. 

First  State:  The  central  doorway  is  barely  indicated  and  the 
other  doorways  are  incompletely  defined.  The  reflections  in 
the  canal  are  slight.  There  is  no  butterfly. 

Freer  Collection. 

Second  State:  The  doorways  are  well  defined  and  strongly 
shaded.  There  are  no  figures  in  the  central  doorway.  There 
are  traces  of  two  figures  in  a boat  below  the  gondolas  at  the 
extreme  right.  There  are  now  strong  reflections  in  the  canal. 
There  is  no  butterfly. 

Third  State:  Two  figures  are  added  in  the  central  doorway, 
and  the  figure  of  a man  with  a broad-brimmed  hat  is  added  in 
front  of  the  large  palace,  near  the  left  corner.  There  is  addi- 
tional shading  in  the  doorways  and  on  the  gondolas  in  front  of 
the  large  palace,  and  on  their  reflections.  Instead  of  the  traces 

1 18 


whistler’s  etchings  and  dry-points 

of  the  boat  at  the  right  are  short  lines  indicating  ripples.  The 
butterfly,  shaded,  is  in  the  sky,  near  the  left  edge  of  the  plate. 
Lathrop  Collection. 

In  this  state,  one  of  the  “Twelve  Etchings.” 

Fourth  State:  The  butterfly  has  been  removed. 

85  THE  DOORWAY.  (W.  154.)  Upon  the  border  of  a canal,  a 
great  doorway,  set  within  a round  arch  and  open  below  a grille 
of  iron  framework  wrought  in  squares,  is  flanked  by  round- 
arched  windows  barred  with  iron  grilles  of  diamond  pattern; 
the  whole  encased  by  moldings  of  elaborate  stone  carving. 
Beyond  heavy  doors,  swung  back  over  a broad  stone  platform, 
a dark  passageway,  from  the  ceiling  of  which  chairs  are  hung, 
leads  by  irregular  steps  to  a court,  lighted  by  barred  windows, 
where  people  are  at  work.  At  the  right  side  of  the  doorway, 
a girl  stands  on  the  second  step  leading  from  the  canal,  and 
back  of  her,  in  the  shadow,  stands  a woman.  The  butterfly, 
shaded,  appears  above  the  arch  of  the  window  at  the  left. 
Etching.  Height,  11X  inches;  width,  7%  inches. 

First  State:  The  girl  bends  over,  dipping  a cloth  in  the  canal. 
On  the  landing  is  a basket.  The  interior  beyond  is  vaguely 
expressed.  The  chairs  are  indistinct.  Many  of  the  squares 
above  the  entrance  have  only  slight  shading. 

Freer  Collection. 

Second  State:  The  faces  of  the  girl  and  woman  are  more 
defined  and  the  interior  is  more  clearly  expressed.  Vertical  lines 
are  added  on  the  upper  steps,  and  numerous  horizontal  lines 
in  the  canal,  below  the  doorway.  There  is  more  shading  in 
the  passageway  and  on  the  squares  above  the  entrance. 

Third  State:  The  girl  is  redrawn.  She  now  faces  more  to 
the  front,  bends  forward  but  slightly,  and  seems  to  press  back 
.her  dress.  Only  her  left  foot  is  seen.  In  place  of  the  woman 
first  drawn  is  an  older  woman  with  her  hand  to  her  face.  The 


whistler’s  etchings  and  dry-points 


passageway  is  now  dark,  and  nearly  all  the  squares  above  the 
entrance  are  shaded.  Reflections  in  the  canal  are  changed, 
and  there  is  a clear  space  below  the  doorway. 

Avery  Collection. 

Fourth  State:  Short  diagonal  lines  in  dry-point  are  now  added 
below  the  edge  of  the  girl’s  skirt.  There  is  additional  work  on 
the  interior,  and  work  with  the  roulette  in  the  reflections. 

In  this  state,  one  of  the  “Twelve  Etchings.’’ 

Fifth  State:  There  is  additional  work  in  fine  dry-point  upon 
the  figure  of  the  girl,  and  her  right  foot  is  now  expressed. 
Short  vertical  lines  are  added  on  the  step  on  which  she  stands 
and  on  the  step  above.  The  shading  of  the  passageway  has  been 
reworked  throughout.  The  roulette  work  has  been  removed. 
Lathrop  and  Mansfield  Collections. 

Sixth  State:  In  place  of  the  girl  as  redrawn,  a girl  with  short 
skirt  and  bare  arms  stands  bending  over  and  dipping  a cloth 
in  the  canal.  The  basket  has  been  removed.  The  chairs  are 
more  distinct.  Reflections  are  expressed  by  numerous  verti- 
cal lines  and,  below  the  doorway,  by  elaborate  cross-hatching. 
Mansfield  and  Vanderbilt  Collections. 

The  plate  in  the  latest  state  was  reworked  in  1891. 

186  THE  PIAZZETTA.  (W.  155.)  The  lower  part  of  the  column  of 
San  Marco,  rising  from  steps  on  which  people  are  seated,  appears 
in  the  foreground  at  the  left,  obstructing  the  view  of  the  cathe- 
dral, of  which  glimpses  are  given.  The  clock-tower,  amid  sur- 
rounding buildings,  is  seen  beyond  an  open  broad  space  in  which 
are  many  people,  some  walking,  some  seated  at  tables,  and  some 
feeding  doves.  Other  doves  are  in  flight.  There  are  clouds  in 
the  sky.  The  butterfly,  shaded,  is  on  the  column,  near  the  base. 
Etching.  Height,  9%  inches;  width,  7 inches. 

First  State:  The  man  seated  on  the  steps  wears  a hat  with 
a broad  brim  and  a peaked  crown.  His  features  are  scarcely 


120 


whistler’s  etchings  and  dry-points 

expressed.  There  are  three  curved  lines  just  at  the  left  of  the 
head  of  the  boy  seated  on  the  lowest  step.  The  open  spaces 
at  the  right  of  the  steps  and  beyond  the  column  are  left  blank. 
Benedict  and  Havemeyer  Collections. 

Second  State:  Numerous  short  lines  are  added  in  the  open 
spaces,  to  indicate  the  pavement;  also  short  horizontal  dry- 
point  lines  on  the  column,  above  the  butterfly. 

In  this  state,  one  of  the  “Twelve  Etchings.” 

Third  State:  The  shading  on  the  dial  of  the  clock-tower  is 
deepened  by  strong  vertical  lines,  and  there  is  additional  shad- 
ing in  the  doorway  below.  Lines  are  added  on  the  pavement 
at  the  right. 

Fourth  State:  The  hat  of  the  man  seated  on  the  steps  is 
smaller  and  has  a round  crown.  The  man’s  features  have 
been  redrawn  and  are  well  defined.  The  curved  lines  near  the 
head  of  the  seated  boy  have  now  disappeared.  More  short  de- 
tached lines  are  added  on  the  column,  above  the  butterfly. 

187  THE  TRAGHETTO.  No.  1.  (Sup.  368.)  Underneath  a broad 
round  arch,  a dark  passageway,  roofed  with  beams  and  in  which 
there  hangs  a lantern,  leads  through  a building,  in  front  of  which 
three  slender  trees  are  growing,  to  an  opening  on  a sunny  canal. 
Near  the  opening  a man  is  seated  at  the  left,  and  on  the  pave- 
ment at  the  right  is  the  canopy  of  a gondola.  In  the  wall  in 
front,  at  the  left  of  the  arch,  is  a window  with  lozenged  panes, 
and  at  the  right  are  two  windows.  There  are  figures  of  men  in 
front,  at  the  right.  The  butterfly  is  on  the  wall  at  the  left. 
Dry-point.  Height,  93^  inches;  width,  113^  inches. 

First  State:  The  window  at  the  left  is  complete.  The  figures 
at  the  right  are  two  men,  slightly  indicated,  standing  near  the 
entrance  to  the  passageway.  There  are  no  gondolas  on  the 
canal.  The  butterfly,  shaded,  is  three-eighths  of  an  inch  from 
the  arch. 


121 


whistler’s  etchings  and  dry-points 

Mansfield  Collection.  On  the  impression  in  this  collection 
Whistler  wrote:  “First  proof.” 

Second  State:  The  window  at  the  left  has  been  almost  wholly 
burnished  out.  The  first  butterfly  has  been  burnished  out  and 
another  butterfly,  shaded,  is  added  below  and  half  an  inch  to 
the  left. 

Third  State:  The  window  at  the  left  has  been  sketchily  re- 
drawn. The  figures  of  the  men  have  been  removed.  Where 
they  stood  is  a man  seated  on  a chair  with  his  face  turned 
away  and  his  arms  resting  on  the  backs  of  two  other  chairs. 
Near  by  are  two  men,  slightly  indicated,  and  at  the  left  of  the 
group  is  an  empty  chair.  Two  passing  gondolas  are  seen  on 
the  canal.  The  butterfly  is  now  faintly  expressed. 

Freer  Collection. 


1 88  THE  TRAGHETTO.  No  2.  (W.  156.)  Under  a broad  round 

arch,  a dark  passageway,  paved  with  large  stones  and  roofed 
with  heavy  beams,  leads  through  a building  to  an  opening,  under 
a flat  arch,  on  a canal.  In  front  of  the  building  are  three  slen- 
der trees  with  spreading  foliage,  and  at  the  right  four  men  are 
seated  about  a table.  Through  the  archway  gondolas  are  seen, 
on  one  of  which  a man  is  seated.  The  removed  canopy  of  a 
gondola  rests  upon  the  pavement  at  the  right,  near  the  opening 
on  the  canal.  In  the  outer  wall  there  are  two  windows  at  the 
right  of  the  arch  and  there  is  one  window  at  the  left. 

Etching.  Height,  9^  inches;  width,  12  inches. 

First  State  : The  man  at  the  left  end  of  the  table  wears  a rath- 
er small  nondescript  hat.  A jug  and  a glass  on  the  table  are 
slightly  indicated.  Three  gondolas  with  their  rowers  are  seen 
through  the  archway.  The  roof-beams  are  expressed  chiefly  by 
short  vertical  lines.  The  lantern  is  quite  indistinct.  The  lower 
part  of  the  window  at  the  left  is  well  defined.  The  butterfly, 
shaded,  is  at  the  foot  of  the  outer  wall,  at  the  left  of  the  arch. 


122 


whistler’s  etchings  and  dry-points 

Second  State:  The  man  at  the  left  end  of  the  table  wears  a 
hat  with  peaked  crown  and  broad  brim.  Shading  is  added  in 
the  archway,  defining  the  foliage  more  clearly.  The  shape  of 
the  lantern  is  indicated.  The  lowest  lozenged  panes  of  the 
window  at  the  left  have  become  less  distinct. 

Third  State:  There  is  much  additional  work  on  the  passage- 
way. The  lantern  is  fully  defined  and  partly  shaded.  Fall- 
ing leaves  are  expressed.  The  butterfly  has  been  removed,  and 
where  it  was  stands  a girl  holding  in  her  arms  a child  whose 
features  are  not  defined.  Another  butterfly,  shaded,  is  on  the 
outer  wall,  below  the  window  at  the  left. 

Dick  and  Lathrop  Collections. 

In  this  state,  one  of  the  “Twelve  Etchings.” 

Fourth  State:  Through  further  work  the  passageway  is  now 
darkened  and  the  foliage  is  brought  into  stronger  relief.  The 
lantern  is  changed  in  form  and  made  larger. 

Fifth  State:  Still  more  work  within  the  passageway  gives  it 
greater  depth  and  a more  definite  form,  and  brings  out  more 
distinctly  the  falling  leaves.  The  lantern  is  again  changed  in 
form  and  has  curved  sides,  and  is  wholly  shaded.  There  is 
additional  work  on  the  hats  of  the  men  about  the  table.  The 
jug  and  glass  have  been  removed  from  the  table.  The  rower 
of  the  farthest  gondola  has  also  been  removed. 

Sixth  State:  The  walls  of  the  passageway  are  still  further 
darkened.  There  is  some  additional  work  on  the  figures  about 
the  table,  and  a jug  is  added  near  the  place  where  the  other 
one  stood.  Eyes  are  added  to  the  features  of  the  child  in  the 
girl’s  arms. 

Mansfield  Collection. 

Seventh  State:  Four  strong  lines  are  added  along  the  back 
of  the  man  at  the  left  of  the  table.  The  jug  is  given  strong 
outlines,  and  here  and  there  lines  defining  the  group  about  the 
table  are  reinforced. 


123 


whistler’s  etchings  and  dry-points 


The  plate  in  the  sixth  and  seventh  states  was  reworked  in 
1891. 


189  THE  RIVA.  No.  1.  (W.  157.)  The  broad  pavement  of  the 

Riva  degli  Schiavoni,  seen  in  front,  curves  along  the  water’s  edge 
to  a bridge  with  high  round  arch,  spanning  a narrow  canal.  On 
the  far  side  of  the  bridge  is  a large  two-story  building,  and  be- 
yond is  a line  of  high  buildings,  following  the  windings  of  the  em- 
bankment and  ending  where  the  Campanile  and  the  domes  of 
San  Marco  appear,  at  the  extreme  right.  Boats  are  moored  and 
some  nets  are  hung  up  to  dry  alongside  the  Riva,  near  the  fore- 
ground. Out  in  the  bay  are  gondolas,  and  in  the  distance  are 
a number  of  vessels,  some  with  sails  partly  furled.  Here  and 
there,  on  the  pavement  and  on  bridges  and  in  boats,  are  many 
people.  The  butterfly,  shaded,  is  at  the  left  edge  of  the  plate,  on 
the  wall  of  the  nearest  building. 

Etching.  Height,  7 yi  inches;  width,  11  $4  inches. 

First  State:  In  the  foreground,  near  the  center,  there  are  two 
women.  The  nearest  of  the  gondolas  in  motion  is  slightly  ex- 
pressed. The  space  around  the  two  windows  near  the  left 
edge  of  the  plate  is  blank.  The  plate  is  only  slightly  shaded. 
Freer  Collection. 

Second  State:  The  figures  of  the  two  women  have  been  re- 
moved. There  is  more  work  on  the  nearest  gondola  and  gondo- 
lier and  on  their  reflections.  The  wall  about  the  windows  at 
the  left  is  shaded  by  short  vertical  strokes.  Shading  is  added 
throughout  the  plate. 

Havemeyer  Collection. 

Third  State:  Much  shading  is  added  on  the  wall  at  the  left. 
Through  additional  work  in  dry-point  the  hanging  nets  are 
uniformly  dark,  and  there  is  slight  additional  work  in  dry- 
point  elsewhere  on  the  plate. 

In  this  state,  one  of  the  “Twelve  Etchings.” 


124 


whistler’s  etchings  and  dry-points 


190  THE  TWO  DOORWAYS.  (W.  158.)  At  the  left,  following  the 
bend  of  a canal,  is  a massive  building  with  two  large  doorways. 
Within  the  nearer  doorway,  which  has  a pointed  arch  and  stands 
open,  hangs  a lantern.  The  farther  doorway,  with  round  arch 
enclosing  an  iron  grille  at  the  top,  is  boarded  up  and  protected 
by  an  iron  railing.  At  the  right,  across  the  canal,  a row  of  tall 
buildings  extends  beyond  a bridge  with  elliptic  arch  and  iron 
railing,  near  which  are  three  gondolas.  There  are  figures  in  the 
open  doorway. 

Etching.  Height,  7^8  inches;  width,  \ \%  inches. 

First  State:  The  buildings  and  doorways  are  but  slightly  ex- 
pressed. Except  for  a few  lines  suggesting  reflections  from  the 
doorway  at  the  left,  the  space  below  all  the  buildings  is  clear. 
There  is  no  butterfly. 

Freer  Collection.  On  the  impression  in  this  collection  Whistler 
wrote:  “1st  state.  1st  impression.  Printed  in  Venice.” 
Some  proofs  of  the  Venice  etchings  were  printed  on  an  old  press 
found  there;  others  on  the  portable  press  of  Mr.  Otto  H.  Bacher. 

Second  State:  The  buildings  and  doorways  are  well  defined 
and  show  reflections  in  the  canal.  In  front  of  the  doorway  at 
the  left  is  a long  boat,  in  which  stands  a man  holding  out  a 
piece  of  cloth.  A man  with  arms  akimbo  stands  in  the  door- 
way, at  the  edge  of  the  steps.  Within,  at  the  head  of  the  steps, 
are  two  women.  There  is  no  butterfly. 

Freer  Collection. 

Third  State:  The  boat  has  been  removed.  In  place  of  the 
figures  first  described,  are  a man  standing  on  the  lower  steps 
of  the  doorway,  bending  over  a large  dish  at  his  left,  a woman 
standing  within  the  doorway,  near  the  center,  and  a man 
seated  at  the  right.  The  lantern  is  small  and  nearly  white. 
The  butterfly,  shaded,  is  on  the  wall  between  the  doorway  at 
the  left  and  the  window  at  the  edge  of  the  plate. 

Avery,  Freer,  and  Mansfield  Collections. 

In  this  state,  one  of  the  “Twelve  Etchings.” 


125 


whistler’s  etchings  and  dry-points 


Fourth  State  : The  interior  of  the  doorway  at  the  left  has  now 
been  extensively  reworked  in  dry-point,  and  there  is  close  dry- 
point  shading  on  the  upper  part  of  the  lantern. 

Fifth  State:  The  stooping  figure  on  the  steps  has  the  aspect 
of  an  old  man.  The  form  of  the  seated  figure  is  changed  and 
made  lighter.  The  standing  figure  is  obscured.  The  lantern 
is  larger  and  changed  in  form. 

Sixth  State:  The  figure  of  the  old  man  is  more  defined.  In 
place  of  the  seated  figure  is  a woman,  standing.  The  figure  of 
a man  standing,  wearing  a hat,  appears  in  place  of  the  figure 
that  was  obscured.  The  lantern  is  enlarged,  but  is  blurred. 
The  reflection  of  the  doorway  is  deepened  through  extensive 
cross-hatching  in  dry-point,  and  fine  dry-point  lines  extend  the 
reflections  of  the  adjacent  walls. 

Seventh  State:  There  is  additional  work  in  dry-point  on  the 
figures  in  the  doorway  at  the  left  and  on  the  lantern.  Fine 
vertical  dry-point  lines  are  added  on  the  reflections  of  the 
doorway  and  window  of  the  building  at  the  extreme  right. 

The  plate  in  the  sixth  and  seventh  states  was  reworked  in  1891. 

THE  BEGGARS.  (W.  159.)  A dark  passageway,  roofed  with 
beams,  leads  to  a sunlit  street,  across  which  a house  shows  a door- 
way and  two  windows  and  a balcony.  Above  the  opening  in 
front  there  hangs  a large  lantern.  Within  the  passageway,  at 
the  right  two  figures  are  standing  by  the  wall,  and  farther  along 
a man  is  walking  away;  on  the  left,  at  the  street-opening,  are  two 
women  carrying  baskets  suspended  from  poles  balanced  on  their 
shoulders.  Across  the  street  a man  is  walking  toward  the  left. 
Etching.  Height,  12  inches;  width,  8]4  inches. 

First  State:  The  lantern  hangs  from  a bracket  projecting 
from  the  wall  at  the  left.  The  two  figures  at  the  right  are  a 
bearded  man  and  a young  person  who  is  slightly  indicated. 
The  man  beyond  is  mainly  suggested  by  a blank  space.  The 


126 


whistler’s  etchings  and  dry-points 


butterfly,  shaded,  is  high  on  the  front  wall,  near  the  left  cor- 
ner of  the  arch. 

Freer  Collection. 

Second  State:  The  two  figures  first  described  have  been  re- 
moved. In  place  of  the  bearded  man  a girl  is  standing,  at 
whose  side  stands  a younger  girl  with  her  hand  to  her  face. 
The  man  beyond  is  now  expressed.  He  wears  a hat  with  round 
crown  and  broad  flat  brim.  Through  much  additional  work 
the  walls  and  pavement  of  the  passageway  are  thrown  into 
deep  shadow.  Changes  have  been  made  in  the  windows  across 
the  street. 

Freer  Collection. 

Third  State:  The  bracket  has  been  removed  and  the  lantern 
made  smaller  and  placed  near  the  center,  and  slightly  shaded. 
Changes  have  been  made  in  all  the  figures.  In  place  of  the 
older  girl  is  an  old  woman  with  hands  crossed,  and  in  place  of 
the  younger  girl  is  a girl  with  her  hand  by  her  side.  The  man 
beyond  wears  a hat  with  a peaked  crown  and  a curved  brim. 
The  nearer  of  the  two  women  at  the  street-opening  wears  a long 
skirt;  the  other  holds  her  raised  skirt  in  her  right  hand.  The 
man  across  the  street  has  been  redrawn.  The  beams  are  less 
conspicuous  and  the  side  walls  are  more  harmonious.  Within 
the  passageway  is  an  effect  of  strongly  reflected  light. 

Avery,  Benedict,  and  Dick  Collections. 

In  this  state,  one  of  the  “Twelve  Etchings.” 

Fourth  State:  Short  vertical  lines  of  shading  are  added  on 
the  wall  beyond  the  man  at  the  right.  The  butterfly  has  been 
redrawn  in  outline. 

Lathrop  Collection. 

Fifth  State:  The  figure  of  the  man  by  the  wall  has  been  re- 
drawn with  short  strokes  in  dry-point  and  made  slighter,  but 
is  left  in  jagged  outline;  and  his  hat  has  been  made  smaller. 
There  is  now  a clear  space  on  the  wall,  around  the  man. 


127 


whistler’s  etchings  and  dry-points 


Sixth  State:  The  features  of  the  woman  and  girl  are  more 
defined.  The  outlines  of  the  figure  of  the  man  by  the  wall  are 
softened.  The  skirt  of  the  nearer  of  the  two  women  is  shortened 
and  her  legs  are  blurred.  The  butterfly  has  been  erased. 
Scholle  Collection. 

Seventh  State:  Numerous  fine  dry-point  lines  are  added  on 
the  wall,  in  the  space  about  the  man,  and  there  is  more  shading 
on  his  figure. 

Havemeyer  Collection. 

Eighth  State:  The  features  of  the  woman  and  the  girl  are 
still  more  distinct.  The  legs  of  the  nearer  of  the  two  women 
have  been  redrawn.  Fine  dry-point  work  is  added  extensively 
on  the  wall  at  the  right  and  above  the  opening  on  the  street. 

Ninth  State:  The  faces  of  the  woman  and  girl  are  materially 
changed  and  the  woman’s  left  hand  has  been  almost  wholly 
burnished  out.  The  man  beyond  has  been  redrawn  and  now 
wears  a short  cloak  and  a hat  with  peaked  crown  and  small 
brim.  The  nearer  of  the  two  women  and  the  man  across  the 
street  have  been  redrawn.  There  is  again  a clear  space  about 
the  man  by  the  wall;  otherwise  the  passageway  is  in  deep 
shadow.  The  lantern  is  strongly  shaded.  Conspicuous  are 
short  horizontal  lines  on  the  wall  at  the  left  and  short  vertical 
lines  in  the  pavement,  at  the  right. 

Mansfield  Collection. 

This  last  state  was  the  result  of  reworking  in  1891. 


THE  VENETIAN  MAST.  (W.  160.)  Erected  in  a wide  street, 
with  high  buildings  on  either  side,  is  a tall  mast  with  halyards 
looped  to  a building  at  the  left.  In  the  foreground  women  and 
girls  are  seated  in  a group,  sev/ing.  A boy  stands  near  them. 
At  the  right  a man  is  walking  away,  and  a boy  stands  at  the  foot 
of  the  mast.  There  are  numerous  figures  in  the  distance. 
Etching.  Height,  13X  inches;  width,  6)4  inches. 

128 


whistler’s  etchings  and  dry-points 


First  State:  The  man  at  the  right  is  lightly  etched  and  wears 
a short  coat.  The  right  arm  of  the  boy  standing  at  the  left  is 
merely  suggested.  The  left  arm  of  the  woman  seated  at  the 
right  is  unshaded.  There  is  no  butterfly. 

Freer  Collection. 

Second  State:  The  right  arm  of  the  boy  standing  at  the  left 
is  defined.  There  is  no  butterfly. 

Third  State:  Short  vertical  lines  in  dry-point  are  added  un- 
derneath the  seat  of  the  chair  of  the  girl  in  front.  There  is  no 
butterfly. 

Fourth  State:  The  man  has  been  redrawn.  He  wears  a long 
blouse  and  holds  a basket  against  his  side  with  his  left  arm. 
Short  diagonal  lines  in  dry-point  are  added  on  the  left  arm 
of  the  woman  seated  at  the  right.  Short  dry-point  lines  are 
added  in  the  sky.  There  is  no  butterfly. 

Fifth  State:  The  butterfly,  shaded,  is  on  a wall  at  the  left. 

In  this  state,  one  of  the  “Twelve  Etchings.” 

Sixth  State:  Lines  are  added  on  the  peak  of  the  boy’s  cap. 
A knot  is  added  on  the  kerchief  on  the  head  of  the  girl  seated 
in  front  of  the  woman  at  the  right.  The  lines  in  the  sky  have 
been  almost  wholly  removed. 

Catalogued  by  Wedmore  as  “The  Mast.” 


193  DOORWAY  AND  VINE.  (W.  161.)  A wide  archway  in  deep 
shadow  leads  through  a building  from  a courtyard  to  an  opening 
on  a canal,  where,  at  the  right,  a man  is  standing.  Above  this 
opening  is  a window  of  ten  panes.  In  the  outer  wall,  above  the 
entrance  to  the  archway  is  a window  in  which  are  two  figures,  and 
at  the  right  is  a window  partly  seen.  A vine,  growing  up  at  the 
left  of  the  entrance,  extends  over  much  of  the  building.  The 
butterfly,  shaded,  is  on  the  outer  wall,  at  the  right  of  the  archway. 
Etching.  Height,  inches;  width,  6^4  inches. 


129 


whistler’s  etchings  and  dry-points 


First  State:  The  shading  of  the  archway  is  expressed  by 
short  vigorous  lines.  The  canal  is  vaguely  suggested.  The 
man  appears  to  stand  with  crossed  legs.  The  figures  in  the 
window  are  indistinct  and  are  mainly  defined  by  shading.  In 
front,  at  the  left  of  the  archway  there  are  outlines  of  a tall  man 
and  outlines  of  the  upper  part  of  another  figure. 

Second  State:  Rows  of  short  dry-point  lines  appear  on  the 
wall  at  the  left  and  in  spaces  between  the  etched  lines  on  the 
upper  part  of  the  archway.  Across  the  canal  two  figures  are 
slightly  suggested. 

Benedict  Collection. 

Third  State:  The  figures  in  outline  at  the  left  have  been 
removed.  There  is  additional  shading  about  the  figures  in  the 
window.  The  figures  across  the  canal  are  more  distinct.  Some 
of  the  lines  on  the  wall  across  the  canal  have  been  removed. 

Fourth  State:  Through  much  added  work  in  dry-point  there 
is  deeper  shading  in  the  window  in  front,  and  on  the  walls  of 
the  archway.  The  figures  across  the  canal  have  been  almost 
wholly  removed. 

Fifth  State:  The  man  is  stooping.  Across  the  canal,  two 
slender  figures,  walking  below  a window,  are  now  suggested. 
The  panes  in  the  window  over  the  opening  on  the  canal  are 
enlarged.  There  is  additional  work  on  the  walls  and  roof  of 
the  archway. 

Sixth  State:  Work  is  added  on  the  figures  across  the  canal. 
The  figure  at  the  right  in  the  window  in  front  is  obscured;  the 
face  of  the  other  figure  is  changed  to  that  of  a young  girl. 

Seventh  State:  The  man  stands  erect  on  both  legs,  with  one 
arm  extended  to  the  right.  The  window  above  the  opening 
on  the  canal  has  been  redrawn  and  the  size  of  the  panes  re- 
duced. The  figures  in  the  window  in  front  have  been  almost 
wholly  removed. 

Freer  Collection. 


130 


whistler’s  etchings  and  dry-points 


Eighth  State:  The  window  and  figures  across  the  canal  are 
more  distinct.  The  figures  in  the  window  in  front  have  been 
almost  wholly  burnished  out. 

Ninth  State:  The  figures  in  the  window  in  front  have  been 
redrawn  and  are  well  defined  as  a woman  and  a girl,  and  there 
is  strong  shading  about  them.  The  pavement  has  been  exten- 
sively reworked. 

Mansfield  Collection. 

In  this  state,  one  of  the  set  of  “Twenty-six  Etchings”  issued 
in  1886,  at  fifty  guineas  for  a set,  by  Messrs.  Dowdeswell  and 
Dowdeswells,  London. 

In  the  case  of  any  one  of  the  Venetian  prints  included  in  the 
“ Twenty-six  Etchings,”  an  impression  of  another  state  than 
that  specially  indicated  may  have  been  issued  in  some  of  the 
published  sets. 

SAN  BIAGIO.  (W.  163.)  On  a low  bank  sloping  to  the  water’s 
edge  stands  a massive  building,  through  which  a high  rounded 
archway  leads  to  a street  lined  with  large  houses.  In  the  outer 
wall  are  windows  on  either  side  of  the  archway,  three  with  opened 
shutters,  and  at  the  right  is  a doorway  opening  on  a balcony. 
A long  boat  lies  in  the  water,  and  stranded  near  the  archway  is 
a large  loaded  boat.  About  the  boat  is  a group  of  boys.  There 
is  a woman  in  the  balcony,  and  a man  is  standing  by  a windlass 
at  the  left  of  the  archway;  there  are  two  people  on  the  bank  at  the 
right,  and  groups  of  people  in  front  of  the  houses.  Garments  are 
hung  from  various  parts  of  the  building  and  cloths  are  spread  on 
the  bank.  The  butterfly,  shaded,  is  half  way  up  the  plate,  at  the 
left  edge. 

Etching.  Height,  8 inches;  width,  11%  inches. 

First  State:  The  archway  is  roofed  with  well  defined  beams. 
High  in  the  right  wall  of  the  archway  is  a narrow  window. 
Below,  at  the  right  are  a doorway  and  another  window,  and  at 
the  left  is  an  open  white  shutter.  There  is  a large  blank  space 


whistler’s  etchings  and  dry-points 


on  the  lowest  part  of  the  wall.  Back  of  two  boys  on  the  loaded 
boat  is  a boy  wearing  a hat. 

Second  State:  The  beams  are  less  prominent  and  the  wall  of 
the  archway  is  darkened.  Beyond  the  loaded  boat  stands  a 
woman,  drawn  in  outline.  A figure,  slightly  suggested,  stands 
near  the  water,  at  the  left. 

Benedict  Collection. 

Third  State:  Shading  is  added  on  the  beams  and  wall.  The 
shapes  of  the  garments  overhanging  the  archway  are  changed 
and  more  defined. 

Fourth  State:  There  is  more  shading  on  the  wall,  obscuring 
the  narrow  upper  window.  The  figure  of  the  woman  in  out- 
line is  changed.  She  stands  with  right  hand  on  her  hip  and 
left  hand  raised. 

Havemeyer  Collection. 

Fifth  State:  The  beams  are  obscured  by  deep  shading,  and 
the  wall  is  darkened.  Shading  is  added  on  the  boys  by  the 
boat  and  on  the  load  in  the  boat.  The  figure  on  the  beach  is 
more  defined. 

Sixth  State:  The  woman  in  outline  has  almost  entirely  dis- 
appeared. The  wall  where  she  stood  is  covered  with  fine  dry- 
point  lines.  The  boy  with  the  hat  has  been  removed. 

Dick  Collection. 

In  this  state,  one  of  the  “Twenty-six  Etchings.” 

Seventh  State:  Further  work  in  dry-point  has  obscured  the 
beams  and  rounded  the  roof  of  the  archway,  and  shaded  the 
wall  throughout.  Horizontal  lines  shade  the  open  shutter. 

Eighth  State:  Through  minute  work  in  dry-point  the  roof  and 
upper  part  of  the  wall  of  the  archway  are  now  uniformly  dark. 


195  BEAD-STRINGERS.  (W.  164.)  At  the  right,  in  a broad  open 
doorway,  above  which  is  a row  of  window-panes,  a young  woman 


132 


whistler’s  etchings  and  dry-points 

is  seated  with  a baby  on  her  lap.  Within,  under  a large  square 
window,  an  elderly  woman  is  seated,  holding  a tray  on  her  knees 
and  lifting  a string  in  her  right  hand.  There  is  shading  around 
the  window.  Above  the  doorway  is  the  number  “37.” 

Etching.  Height,  9 inches;  width,  6 inches. 

First  State:  The  young  woman  has  a full  round  face  and  is 
looking  forward  toward  the  left.  Opposite  her  are  confused 
suggestions  of  a seated  figure.  There  is  but  slight  shading  on 
the  figure  of  the  elderly  woman.  The  shading  within  the  door- 
case, above  the  windows,  is  slight,  and  is  chiefly  in  short  ver- 
tical lines.  There  is  no  butterfly. 

Second  State:  Long  vertical  lines  and  short  diagonal  lines 
are  added  in  dry-point  in  the  shading  within  the  door-case, 
above  the  windows,  and  vertical  lines  are  added  in  the  shading 
of  some  of  the  window-panes.  A few  strong  diagonal  lines  are 
added  at  the  left  of  the  knee  of  the  elderly  woman. 

Third  State:  The  head  of  the  young  woman  has  been  re- 
drawn, and  she  now  looks  down.  Opposite  her  sits  a young  girl, 
wearing  a handkerchief  on  her  head  and  holding  a tray.  Her 
left  hand  is  raised  above  the  right.  Her  right  foot  is  advanced 
and  her  left  foot  is  not  indicated.  The  shading  within  the 
door-case,  above  the  windows  and  upon  the  window-panes,  is 
more  harmonious,  and  is  chiefly  in  short  vertical  and  diagonal 
lines.  There  is  no  butterfly. 

Benedict  and  Mansfield  Collections. 

Fourth  State:  The  face  of  the  young  woman  has  been  re- 
drawn in  profile,  looking  toward  the  left.  The  skirt  and  right 
foot  of  the  girl  have  been  redrawn,  and  her  left  foot  is  slightly 
indicated.  There  is  additional  shading  around  the  window 
and  at  the  left  of  the  elderly  woman.  The  butterfly,  partly 
shaded,  is  on  the  wall,  at  the  left  edge  of  the  doorway,  a little 
above  the  girl’s  head. 

In  this  state,  one  of  the  “Twenty-six  Etchings.” 


V 

* 


133 


whistler’s  etchings  and  dry-points 


Fifth  State:  Close  shading  in  dry-point  is  added  upon  the 
elderly  woman’s  figure,  chiefly  above  her  waist.  Diagonal  lines, 
running  from  left  to  right,  are  added  in  the  central  window- 
pane. 

196  TURKEYS.  (W.  165.)  A Venetian  courtyard,  on  the  farther 
side  of  which  is  a dwelling  approached  by  stone  steps  protected 
by  a railing.  In  the  courtyard  at  the  right  is  a large  stone  well- 
curb,  near  which  stands  a young  woman.  Farther  away  a boy 
is  leaving  the  courtyard.  Upon  the  landing  at  the  head  of  the 
steps  an  elderly  woman  is  seated  and  a woman  is  standing,  hold- 
ing a child  in  her  arms.  Two  children  are  descending  the  steps 
together.  About  the  courtyard  are  numerous  turkeys,  one  of 
them  on  the  well-curb. 

Etching.  Height,  8 yi  inches;  width,  5 y&  inches. 

F'irst  State:  Numerous  scratches  on  the  plate  appear  in  im- 
pressions of  this  state.  There  is  no  butterfly. 

Benedict,  Havemeyer,  and  Scholle  Collections. 

Second  State:  The  scratches  have  been  for  the  most  part 
removed.  The  butterfly,  shaded,  is  near  the  left  lower  corner. 
In  this  state,  one  of  the  “Twenty-six  Etchings.” 


197  FRUIT-STALL.  (W.  166.)  In  front  of  a house  with  an  open 
doorway  at  the  right,  an  awning  is  spread  above  a pavement 
bordering  on  a canal.  At  each  side  of  the  doorway  is  a basket 
heaped  with  fruit.  Within  the  doorway  a man  and  woman  are 
standing.  Under  the  awning  a young  girl  is  seated  at  the  right, 
and  facing  her  is  seated  a woman  over  whose  knees  a child  is 
leaning.  A woman  holding  an  infant  in  her  arms  stands  in  front 
of  the  awning,  at  the  left.  The  stern  of  one  boat  and  the  prow  of 
another  appear  in  the  canal.  The  butterfly,  shaded,  is  half  way 
up  the  plate,  near  the  left  edge. 

Etching.  Height,  8%  inches;  width,  5 % inches. 


i34 


whistler’s  etchings  and  dry-points 


First  State:  The  woman  within  the  doorway  stands  facing 
to  the  right,  slightly  stooping,  and  the  man  stands  beyond  her. 
Both  figures  are  slightly  shaded.  Between  the  figures  seated 
under  the  awning  is  a young  girl,  facing  front.  The  shadow 
cast  by  the  awning  is  expressed  by  several  rows  of  short  verti- 
cal lines.  Numerous  fine  vertical  lines  cover  the  plate. 

Second  State:  The  woman  in  the  doorway  stands  erect;  the 
man  stands  beyond  her  with  arms  akimbo.  The  shadow  cast 
by  the  awning  is  expressed  by  three  rows  of  short  vertical  lines. 
Benedict  Collection. 

Third  State:  All  the  figures,  except  the  woman  and  her  in- 
fant, have  been  burnished  out. 

Fourth  State:  All  the  figures,  except  the  woman  and  her 
infant,  have  been  redrawn.  The  woman  in  the  doorway  is 
bending  forward,  and  the  man  within  is  standing  at  the  left, 
both  figures  being  indistinct.  The  head  of  the  woman  seated 
at  the  right  and  the  head  of  the  child  leaning  over  the  knees  of 
the  woman  facing  her  have  been  made  smaller.  The  shadow 
of  the  awning  is  expressed  by  a single  row  of  short  diagonal 
lines. 

Fifth  State:  There  is  strong  shading  about  the  figures  in  the 
doorway,  and  the  figure  of  the  man  is  shaded.  The  shadow  of 
the  awning  is  expressed  by  diagonal  lines,  partly  in  a double 
row. 

Dick  and  Havemeyer  Collections. 

Sixth  State:  The  man’s  figure  is  made  white  and  indistinct. 
There  is  additional  shading  within  the  doorway. 

Seventh  State:  The  man’s  figure  is  obscured  by  fine  dry- 
point  lines,  and  the  doorway  is  uniformly  shaded. 

In  this  state,  one  of  the  “Twenty-six  Etchings.’’ 

Eighth  State:  The  figures  in  the  doorway  have  been  re- 
drawn and  made  distinct.  The  interior  is  darkened  by  addi- 


i35 


WHISTLERS  ETCHINGS  AND  DRY-POINTS 


tional  work.  The  shadow  of  the  awning  is  expressed  by  deli- 
cate lines  in  dry-point. 

198  SAN  GIORGIO.  (W.  167.)  Moored  to  a cluster  of  posts  near  a 
quay  at  the  right  are  two  large  boats,  alongside  of  which  is  a 
man  in  a small  boat.  Astern  there  is  also  a man  in  a boat,  and 
an  empty  boat  lies  alongside  the  quay  in  front.  In  the  wide 
water  beyond  are  numerous  boats,  each  with  two  slender  masts. 
In  the  distance  is  a long  row  of  buildings,  stretching  from  right 
to  left.  Behind  a long  white  steamer  rise  the  facade,  dome  and 
campanile  of  the  church  of  San  Giorgio. 

Etching.  Height,  8 yi  inches;  width,  12  inches. 

First  State:  The  base  of  the  dome  of  the  church  is  fully 
expressed,  and  the  boats  suspended  above  the  deck  of  the 
steamer  are  well  defined.  There  is  no  butterfly. 

Benedict  Collection. 

Second  State:  The  base  of  the  dome  is  indistinct,  and  some  of 
the  boats  above  the  deck  of  the  steamer  are  vaguely  expressed. 
There  is  no  butterfly. 

Third  State:  A few  delicate  horizontal  lines  are  added  in  the 
sky.  There  is  no  butterfly. 

Havemeyer  and  Mansfield  Collections. 

Fourth  State:  The  lines  in  the  sky  have  been  removed. 
The  butterfly,  in  outline,  is  near  the  lower  edge  of  the  plate, 
toward  the  left. 

In  this  state,  one  of  the  “Twenty-six  Etchings.” 

199  NOCTURNE:  PALACES.  (W.  168.)  At  the  left,  where  two 
canals  meet,  a large  palace  in  strong  light  rises  from  the  water’s 
edge.  A balcony  and  the  projecting  guards  of  the  upper  win- 
dows cast  long  shadows  on  the  wall  below,  in  which  is  a round- 
arched  narrow  doorway.  On  the  corner  at  the  right  is  a tall 
building,  with  door  and  windows  slightly  indicated.  Beyond 

136 


whistler’s  etchings  and  dry-points 


is  a bridge,  above  which  a lantern  throws  diverging  rays.  Fur- 
ther away,  at  the  left,  the  corner  of  another  palace  appears.  A 
solitary  boat  lies  by  the  wall  of  the  nearest  palace.  The  sky  is 
dark  and  there  are  deep  shadows  in  the  canals. 

Etching  and  Dry-point.  Height,  1 1 inches;  width,  7%  inches. 

First  State:  There  are  strong  lines  in  the  sky.  At  the  right 
there  is  an  irrelevant  drawing  of  a long  shutter  and  there  are 
curved  lines  suggesting  a broad  arch  as  part  of  an  abandoned 
oblong  sketch.  There  is  no  butterfly. 

Freer  Collection. 

Second  State:  The  arch  and  the  shutter  have  been  for  the 
most  part  removed,  traces  of  each  remaining.  Short  dry- 
point  lines  are  added  under  the  eaves  of  the  large  palace  at  the 
left,  and  on  the  wall  of  the  smaller  palace  and  in  the  sky.  Fine 
diagonal  lines  are  added  under  the  arch  of  the  bridge.  There 
is  no  butterfly. 

Benedict  Collection. 

Third  State:  Short  horizontal  lines  are  added  along  the  left 
edge  of  the  palace  at  the  right.  There  is  no  butterfly. 

Fourth  State:  A series  of  short  lines  is  added  above  the  roof 
of  the  large  palace  at  the  left,  and  fine  diagonal  lines,  running 
from  left  to  right,  are  added  in  the  sky  at  the  right  of  the  roof. 
Strong  diagonal  lines,  running  from  left  to  right,  are  added 
below  the  arch  of  the  bridge,  and  fine  diagonal  lines,  running 
from  right  to  left,  are  added  below  the  pier.  There  is  no 
butterfly. 

Avery  and  Mansfield  Collections. 

Fifth  State:  Diagonal  lines,  running  from  right  to  left,  are 
added  in  the  sky,  between  the  buildings,  and  numerous  vertical 
lines  are  added  in  the  reflections  of  the  pier  of  the  bridge  and 
of  the  roof  of  the  large  palace  at  the  left.  The  shadow  under 
the  bridge  is  softened  and  made  uniform.  The  rays  of  the 
lantern  are  more  defined.  There  is  no  butterfly. 


>37 


whistler’s  etchings  and  dry-points 

Sixth  State:  The  sky,  between  the  palaces,  is  softened  and 
made  uniform  through  the  addition  of  numberless  fine  lines. 
All  traces  of  the  shutter  at  the  right  have  disappeared. 
Havemeyer  Collection. 

Seventh  State:  Two  series  of  strong  diagonal  lines  are  added 
above  the  roof  of  the  palace  at  the  left,  and  horizontal  lines  are 
added  at  the  right  of  the  roof,  much  of  the  earlier  work  in  the 
sky  having  been  removed.  Fine  diagonal  lines  are  added  in 
the  water,  under  the  bridge  and  at  the  right  of  the  gondola. 
There  is  additional  work  on  the  shadow  of  the  balcony.  There 
is  no  butterfly. 

Eighth  State:  The  strong  diagonal  lines  above  the  roof  at 
the  left  have  been  almost  entirely  removed,  and  the  general 
effect  of  the  sky  is  much  softened.  There  is  no  butterfly. 

Ninth  State:  The  upper  part  of  the  sky  has  been  reworked, 
fine  diagonal  lines  replacing  the  stronger  long  lines.  Traces  of 
the  upper  curved  line  at  the  right  have  now  almost  wholly  dis- 
appeared. Numerous  fine  diagonal  lines  are  added  along  the 
bottom  of  the  wall  at  the  left  and  in  the  canal  below.  Hori- 
zontal lines  are  added  across  the  balcony  and  across  the  farther 
palace,  and  in  the  reflections.  There  is  no  butterfly. 

Benedict,  Dick,  and  Lathrop  Collections. 

In  this  state,  one  of  the  “Twenty-six  Etchings.” 

Tenth  State:  There  is  additional  shading  on  the  wall  of  the 
distant  palace  and  much  cross-hatching  in  the  sky.  The  rays 
of  the  lantern  are  strongly  emphasized.  Numerous  diagonal 
lines  are  added  below  the  arch  of  the  bridge  and  below  the  pier. 
The  butterfly,  shaded,  is  at  the  left  of  the  doorway  of  the 
nearest  palace. 

Babbott  Collection. 


200  LONG  LAGOON.  (W.  169.)  In  the  middle  distance  are  two 
posts  close  together,  rising  out  of  the  lagoon,  in  which  they  are 

.38 


whistler’s  etchings  and  dry-points 


reflected.  Beyond  are  two  similar  posts  and  three  gondolas.  In 
the  distance,  at  the  right  are  two  ships  and  at  the  left  is  a boat 
with  a sail,  in  front  of  a large  church  with  a dome.  Far  away 
stretches  a line  of  delicately  suggested  buildings,  under  strata  of 
low-lying  clouds. 

Etching.  Height,  6 inches;  width,  8%  inches. 

First  State:  There  is  no  butterfly. 

Benedict,  Buckingham,  Bullard,  and  Mansfield  Collections. 

Second  State:  The  butterfly,  shaded,  is  at  the  left,  near  the 
bottom  of  the  plate. 

In  this  state,  one  of  the  “Twenty-six  Etchings.” 

201  THE  BRIDGE.  (W.  171.)  A scene  in  the  Ghetto,  where  a 
wide  canal,  spanned  by  a light  iron  bridge,  is  flanked  beyond  at  the 
right  by  tall  warehouses  on  a wharf,  and  at  the  left  by  picturesque 
buildings  on  a bank  which  slopes  to  the  water’s  edge.  On  an 
embankment  in  front  a girl  stands  by  a boat  in  which  children 
are  playing.  Out  in  the  canal  a man  stands  on  the  stern  of  a boat, 
rowing,  while  a boy  lies  sprawling  on  the  bow.  Another  boat  with 
a rower  has  just  passed  under  the  bridge.  A large  empty  boat 
lies  alongside  an  embankment  at  the  left,  and  there  are  several 
empty  boats  in  the  distance,  each  side  of  the  canal.  People  are 
crossing  the  bridge,  over  the  railings  of  which  long  cloths  are 
hung,  and  there  are  many  people  in  front  of  the  buildings. 
Etching.  Height,  1 1 % inches;  width,  y%  inches. 

First  State:  The  space  immediately  below  the  arch  of  the 
bridge  is  almost  free  from  lines,  and  only  a few  vertical  lines 
appear  among  the  reflections  in  the  canal.  The  butterfly,  in 
outline,  is  near  the  right  lower  corner. 

Second  State:  A series  of  short  dry-point  lines  is  added  upon 
the  embankment,  above  the  large  empty  boat.  The  butterfly 
remains  in  outline. 

Avery  Collection. 


>39 


whistler’s  etchings  and  dry-points 

Third  State:  Strong  vertical  lines  in  dry-point  are  added  on 
the  side  of  the  large  empty  boat,  and  in  the  water  at  the  right 
of  the  boat;  also  fine  diagonal  lines  in  the  sky,  above  the  roofs 
of  the  distant  houses. 

Fourth  State:  Short  diagonal  lines  are  added  in  the  sky, 
near  the  center.  A number  of  short  horizontal  lines  are  added 
near  the  bottom  of  the  plate,  at  the  right.  The  butterfly  has  * 
been  removed,  slight  traces  remaining. 

Benedict  Collection. 

Fifth  State:  Vertical  lines  in  dry-point  are  added  in  the 
canal,  above  the  outer  edge  of  the  nearest  boat  and  near  the 
right  lower  corner  of  the  plate,  and  strong  dry-point  lines  are 
added  upon  the  embankment,  at  the  left  of  the  empty  boat. 
The  butterfly  reappears,  shaded,  near  the  right  lower  corner. 
Mansfield  Collection. 

Sixth  State:  Short  vertical  lines  in  dry-point  are  added  im- 
mediately underneath  the  arch  of  the  bridge  and  above  the 
floor  of  the  bridge.  Dry-point  lines  are  added  at  the  right 
of  the  boat  on  which  are  the  man  and  boy,  and  here  and  there 
in  other  parts  of  the  canal.  Short  dry-point  lines  are  added 
in  the  sky,  above  buildings  at  the  left. 

Buckingham  Collection. 

Seventh  State:  The  lines  in  the  sky  and  the  short  dry-point 
lines  under  the  bridge  and  in  the  canal  have  almost  wholly 
vanished.  A few  diagonal  dry-point  lines  are  added  near  the 
stern  of  the  boat  on  which  are  the  man  and  boy.  The  butter- 
fly has  become  indistinct. 

In  this  state,  one  of  the  “Twenty-six  Etchings.” 


202  UPRIGHT  VENICE.  (W.  172.)  Upon  the  upper  part  of  the 
plate  Venice  is  pictured  under  a cloudy  sky,  the  domes  of  the 
Church  of  Santa  Maria  della  Salute,  on  the  Grand  Canal,  being 
conspicuous  above  the  city.  On  the  wide  water  of  the  bay  are 


140 


whistler’s  etchings  and  dry-points 

numerous  gondolas  in  motion;  a few  boats  are  under  sail  at  the 
right,  and  a steamship  lies  at  anchor  at  the  left. 

Etching.  Height,  io  inches;  width,  6 >8  inches. 

First  State:  The  lower  part  of  the  plate  is  clear.  There  are 
four  gondolas  in  motion  and  three  boats  under  sail.  There  is 
no  butterfly. 

Freer  Collection. 

Second  State:  At  the  bottom  of  the  plate  is  a quay,  upon 
which  groups  of  men  are  standing.  Alongside  the  quay  is  a 
large  boat  with  a tall  bare  mast,  and  further  away  is  a small 
boat  in  which  a man  is  bending  over.  Beyond  a cluster  of 
posts  are  two  large  boats,  each  with  a tall  mast.  There  is  a 
group  of  figures  in  the  nearest  boat  and  a single  figure  in  the 
outer  boat.  Not  far  out  there  is  an  empty  gondola.  In  the 
upper  part  of  the  plate  there  are  ten  gondolas  and  four  sail- 
boats. The  butterfly,  shaded,  is  on  the  quay,  at  the  left. 
Benedict,  Mansfield,  and  Vanderbilt  Collections. 

Third  State:  Shading  is  added  on  the  back  of  the  man  at  the 
right  in  the  nearest  group.  Fengthened  lines  indicate  reflec- 
tions of  the  canopy  of  the  empty  gondola. 

In  this  state,  one  of  the  “Twenty-six  Etchings.” 

Fourth  State:  The  reflection  of  the  canopy  of  the  empty 
gondola  is  deepened  and  extended  by  additional  work  in  dry- 
point. 


203  THE  RIVA.  No.  2.  (W.  175.)  From  a boat-landing  at  the 

right  the  Riva  curves  to  a bridge  spanning  a canal,  on  the  other 
side  of  which  is  a large  two-story  building.  Beyond  is  a suc- 
cession of  tall  buildings,  following  the  embankment  as  it  winds 
and  ending  where  the  domes  of  San  Marco  appear,  at  the  extreme 
right.  There  are  a number  of  boats  at  the  landing,  gondolas  in 
the  open  water  beyond,  and  ships  alongside  the  distant  quays. 
In  the  foreground  at  the  right  is  a group  of  men,  two  of  them 


141 


whistler’s  etchings  and  dry-points 


seated.  Other  groups  stand  in  the  shade  of  an  awning  near  the 
bridge,  and  there  are  many  people  elsewhere  on  the  Riva  and  on 
its  bridges.  The  butterfly,  shaded,  is  on  the  lower  story  of  the 
nearest  building. 

Etching.  Height,  8%  inches;  width,  12  inches. 

One  of  the  “Twenty-six  Etchings.” 

204  THE  BALCONY.  (W.  177.)  Steps  lead  to  an  open  doorway, 
below  an  iron  grille  in  a round  arch  and  between  round-arched 
windows,  in  a palace  on  a canal.  Above  is  a balcony  in  front  of 
five  tall  windows  with  round  arches  supported  by  conspicuous 
columns,  and  open  below.  High  in  the  wall  three  small  windows, 
one  with  opened  shutters,  partly  appear.  A figure  stands  at 
the  left  of  the  doorway,  in  a long  boat  within  the  line  of  two 
posts  in  the  canal,  and  a woman  stands  in  the  doorway.  On 
the  balcony,  back  of  a railing  over  which  drapery  is  hung,  are 
two  or  three  seated  figures.  At  the  right  of  the  palace  is  a low 
building  with  projecting  upper  story,  in  which  is  a window  with 
opened  shutters.  In  front  of  the  building  are  two  women  and 
a child,  slightly  indicated.  The  butterfly,  shaded,  is  on  the  wall 
at  the  left  of  the  tall  windows. 

Etching.  Height,  11  $4  inches;  width,  7 ]4  inches. 

First  State:  The  figure  standing  in  the  boat  is  undefined. 
The  woman  stands  in  the  left  half  of  the  doorway  and  is  in- 
distinctly expressed.  There  are  two  figures  on  the  balcony, 
seated  in  front  of  the  window  at  the  extreme  right.  There  is 
only  slight  shading  in  the  open  spaces  of  the  balcony-windows. 
Reflections  of  the  doorway  are  indicated  chiefly  by  vertical 
lines. 

Second  State:  In  place  of  the  figure  originally  in  the  boat 
there  is  a figure  also  standing,  slightly  indicated,  and  in  place  of 
the  woman  originally  in  the  doorway  is  a woman  merely  sug- 
gested. A figure  indistinctly  drawn  is  on  the  balcony,  in  front 
of  the  second  window  from  the  right. 


142 


whistler’s  etchings  and  dry-points 

Third  State:  The  figure  in  the  boat  is  defined  as  a large  man. 
The  woman  in  the  doorway  is  more  distinctly  expressed.  She 
stands  with  her  left  hand  on  her  hip.  The  two  figures  on  the 
balcony  are  defined  as  women.  The  figure  near  them  has  been 
changed,  but  is  still  indistinct.  Strong  shading  is  added  in  the 
open  spaces  of  three  of  the  windows. 

Benedict  Collection. 

Fourth  State:  In  place  of  the  man  in  the  boat  there  is  a boy, 
vaguely  drawn,  about  whom  is  a space  left  blank.  In  place  of 
the  woman  at  first  in  the  doorway  there  is  a smaller  woman, 
also  vaguely  drawn,  standing  in  the  right  half  of  the  doorway. 

Fifth  State:  The  boy  in  the  boat  has  been  redrawn.  The 
woman  previously  in  the  doorway  is  obscured  by  fine  dry-point 
lines.  There  is  now  a woman  standing  in  the  left  half  of  the 
doorway.  The  third  figure  on  the  balcony  is  defined  as  a man 
wearing  a hat  with  a round  crown  and  a broad  brim.  The 
two  other  figures  on  the  balcony  have  been  slightly  changed, 
and  are  now  indistinct. 

Havemeyer  Collection. 

Sixth  State:  Additional  shading  in  the  doorway  more  com- 
pletely effaces  the  woman  at  the  right  and  more  clearly  de- 
fines the  woman  at  the  left,  who  now  stands  with  her  left  arm 
hanging  by  her  side.  Steps  are  faintly  suggested  in  the  space 
about  the  boy.  There  is  only  slight  shading  on  the  sides  of 
the  boat. 

Seventh  State:  The  woman  in  the  doorway  has  been  to  some 
extent  redrawn,  and  her  left  arm  is  slightly  bent.  There  is 
additional  shading  in  the  doorway  and  in  the  upper  parts  of 
the  open  spaces  of  the  windows. 

Eighth  State:  The  woman  in  the  doorway  has  been  redrawn. 
She  now  holds  in  her  left  hand  a jar  indistinctly  shown.  Indi- 
cations of  wall  and  steps  are  added  in  the  space  about  the  boy. 
The  sides  of  the  boat  are  uniformly  shaded.  There  is  con- 


143 


whistler’s  etchings  and  dry-points 


siderable  shading  in  the  open  spaces  of  all  the  balcony-windows. 
Short  diagonal  lines  change  the  reflections  of  the  doorway. 

In  this  state,  one  of  the  “Twenty-six  Etchings.” 

Ninth  State:  In  place  of  the  woman  previously  in  the  door- 
way is  a taller  woman  standing  nearer  the  center.  Her  right 
arm  is  extended  and  in  her  left  hand  she  holds  a large  jar,  in- 
distinctly drawn.  Above  the  waist  her  figure  is  well  shaded. 
There  is  dense  shading  in  the  doorway.  Fine  dry-point  lines 
are  added  in  the  open  spaces  of  the  windows.  The  figures  on 
the  balcony  have  been  redrawn  in  dry-point,  and  are  indistinct. 

Tenth  State:  The  woman  in  the  doorway  has  been  redrawn. 
Her  figure  is  only  slightly  shaded.  Her  right  arm  hangs  by 
her  side,  and  with  her  left  hand  she  holds  a large  jar  distinctly 
expressed.  Two  of  the  figures  in  the  balcony  are  defined  as  a 
woman  and  child.  There  is  additional  shading  in  the  open 
spaces  of  all  the  windows.  The  reflections  of  the  doorway  are 
less  pronounced. 

205  FISHING-BOAT.  (W.  178.)  In  the  center,  moored  to  one  of 
a cluster  of  posts,  lies  a fishing-boat.  A man  is  seated  in  the 
boat,  under  an  awning  spread  below  nets  hung  on  a pole  upheld 
by  two  masts.  In  the  distance,  at  the  right,  appear  the  Dogana 
and  the  dome  of  the  Salute,  and  indications  of  several  boats. 
Etching.  Height,  6y&  inches;  width,  9 J4  inches. 

First  State:  The  face  of  the  man  is  white  and  his  figure  is 
but  slightly  indicated.  The  butterfly,  shaded,  is  below  the 
middle  of  the  plate,  near  the  right  edge. 

Second  State:  The  man’s  figure  is  defined  and  his  face  is 
shaded,  and  there  is  additional  work  in  dry-point  on  his  figure 
and  on  the  awning. 

Third  State:  There  is  further  shading  on  the  man’s  face  and 
figure,  and  on  the  awning.  The  butterfly  has  been  removed. 
In  this  state,  one  of  the  “Twenty-six  Etchings.” 


144 


whistler’s  etchings  and  dry-points 


Fourth  State:  The  man’s  face  is  very  dark,  and  the  awning 
is  heavily  shaded. 


206  PONTE  DEL  PIOVAN.  (W.  179.)  Spanning  a narrow  canal 
is  a bridge  of  masonry  supported  by  timber-work,  beyond  which, 
on  either  side,  rise  tall  buildings.  In  the  background  is  a large 
house  with  a balcony  projecting  above  a low  roof.  Through 
the  arch  of  the  bridge  is  seen  an  arcade  opening  on  the  canal. 
On  the  wall  of  a low  building  at  the  right  is  the  sign:  “Ponte 
del  Piovan  detto  del  Volto.”  Figures  appear  on  the  bridge  and 
behind  a parapet  on  the  canal,  near  the  entrance  to  the  arcade. 
There  are  reflections  in  the  canal.  The  butterfly,  shaded,  is  on 
the  bridge-masonry,  at  the  right. 

Etching.  Height,  8?4  inches;  width,  6 inches. 

First  State:  The  sky  is  clear.  The  roof  below  the  balcony 
is  untiled  and  is  incomplete  at  the  left.  On  the  high  wall  above 
the  low  roof  at  the  right  there  are  scarcely  any  lines.  The 
arcade  and  the  parapet  on  the  canal  are  unshaded.  There  is 
a single  figure  behind  the  parapet,  and  there  are  three  figures 
on  the  bridge,  two  near  the  center  and  one  at  the  right. 

Second  State:  There  are  clouds  in  the  sky.  The  roof  below 
the  balcony  is  completed  and  tiled.  Numerous  lines  are  added 
on  the  wall  above  the  low  roof  at  the  right.  There  is  additional 
work  on  the  wooden  supports  of  the  bridge.  The  arcade  and 
parapet  are  shaded.  There  are  now  three  figures  behind  the 
parapet. 

Third  State:  The  reflection  of  the  bridge  is  emphasized  by 
many  vertical  lines.  A figure  is  added  on  the  bridge,  near  the 
center. 

In  this  state,  one  of  the  “Twenty-six  Etchings.” 

Fourth  State:  Short  vertical  lines  in  dry-point  are  added 
on  the  bridge-masonry,  near  the  right  abutment,  and  on  the 
supporting  timbers  next  the  masonry.  Short  diagonal  lines 


•45 


whistler’s  etchings  and  dry-points 


are  added  along  the  top  of  a window-frame  in  the  wall  at  the 
left,  just  above  the  bridge. 

Fifth  State:  One  of  the  three  figures  on  the  bridge,  near  the 
center,  has  been  removed. 

Sixth  State:  Longer  diagonal  lines  are  added  along  the  top 
of  the  window-frame  in  the  wall  at  the  left,  just  above  the 
bridge,  and  fine  vertical  and  diagonal  lines  in  the  reflections, 
near  the  bottom  of  the  plate. 

GARDEN.  (W.  180.)  Through  a high  broad  archway  with  a 
flat  top,  steps  lead  from  a canal  to  a pavement,  beyond  which  is 
a house-wall  with  open  doorway  and  three  round-arched  windows, 
irregularly  placed.  Within  the  enclosure  slender  trees  are  grow- 
ing. A vine,  starting  at  the  right,  crosses  above  the  doorway,  and 
on  either  side  there  is  a mass  of  foliage.  On  the  lowest  step  of 
the  archway  a boy  is  seated,  and  there  are  figures  in  the  doorway. 
The  butterfly,  shaded,  is  on  the  lower  part  of  the  outer  wall,  at 
the  left. 

Etching.  Height,  12  inches;  width,  9^5  inches. 

First  State:  On  the  third  step  a second  boy  is  seated.  The 
figures  in  the  doorway  are  a woman  at  the  right,  and  a woman 
with  an  infant  in  her  arms,  and  a child  standing  by  her  side. 
Benedict  Collection. 

Second  State:  The  boy  on  the  third  step  has  been  removed, 
and  where  he  was  seated  is  a large  blank  space.  The  figures  in 
the  doorway  have  become  indistinct.  Much  of  the  foliage  of 
the  plants  has  been  removed. 

Third  State:  The  figures  in  the  doorway  have  been  redrawn, 
and  in  place  of  the  woman  at  the  right  is  a girl,  standing.  The 
foliage  on  either  side  has  been  extensively  redrawn. 

Fourth  State:  The  blank  space  has  been  filled  in  with  indi- 
cations of  steps,  and  on  one  of  the  steps  there  is  a cat. 

In  this  state,  one  of  the  “Twenty-six  Etchings.” 

146 


whistler’s  etchings  and  dry-points 


Fifth  State:  Short  vertical  lines  and  some  diagonal  lines  are 
added  on  the  steps,  at  the  right.  Fine  lines  are  added  in  the 
lowest  part  of  the  foliage  at  the  right. 

Sixth  State:  Short  diagonal  lines  are  added  on  the  foliage  at 
the  right,  and  a series  of  fine  diagonal  lines,  running  from  left 
to  right,  is  added  on  the  house-wall,  at  the  right  of  the  larger 
tree. 

Seventh  State:  Numerous  fine  vertical  and  horizontal  lines 
are  added  on  the  house-wall  at  the  right,  and  there  is  additional 
work  on  all  the  foliage. 

208  THE  RIALTO.  (W.  181.)  Between  high  buildings  with  many 
awnings,  a broad  street  leads  up  to  the  Rialto  bridge.  Beyond 
rises  the  ancient  tower  of  San  Giovanni  Elemosinario.  Above 
the  awning  on  the  corner  building  at  the  right  is  the  sign:  “Ven- 
dita  Carname.”  In  the  street  and  on  the  bridge  there  are  many 
people.  There  is  no  butterfly. 

Etching.  Height,  1 1%  inches;  width,  7 % inches. 

First  State:  In  the  foreground  are  a number  of  small  figures, 
faintly  indicated. 

Dick,  Havemeyer,  and  Mansfield  Collections. 

Second  State:  The  small  figures  have  been  removed. 

In  this  state,  one  of  the  “Twenty-six  Etchings.” 

209  LONG  VENICE.  (W.  182.)  Under  a very  cloudy  sky,  Venice 
extends  along  the  curving  bay,  from  the  Doge’s  Palace,  at  the 
left,  to  far  beyond  the  Salute.  There  are  vessels  here  and  there 
near  the  quays,  and  there  are  gondolas  in  the  open  water.  The 
butterfly,  shaded,  is  near  the  left  lower  corner  of  the  plate. 
Etching.  Height,  5 inches;  width,  \2l/&  inches. 

First  State  : In  pure  etching,  including  the  large  domes  of  the 
Salute. 


i47 


whistler’s  etchings  and  dry-points 


Second  State:  The  domes  of  the  Salute  have  been  redrawn 
in  dry-point,  and  made  smaller. 

In  this  state,  one  of  the  "Twenty-six  Etchings.” 

Third  State:  The  domes  of  the  Salute  have  been  redrawn 
again  in  dry-point  and  are  somewhat  more  defined.  Fine  dry- 
point  lines  are  added  in  the  sky,  at  the  right  of  the  domes. 

Fourth  State:  Numerous  short  diagonal  lines  in  dry-point 
are  added  above  the  buildings  at  the  right  of  the  Salute,  and 
short  horizontal  lines  are  added  here  and  there  in  the  sky. 

210  NOCTURNE:  FURNACE.  (W.  183.)  Seen  through  a large 
square  doorway  in  a dark  wall  on  a canal,  is  a brightly  lighted  in- 
terior, roofed  with  beams,  where  a man  stands  at  a forge.  In  the 
outer  wall,  at  the  left  of  the  doorway,  is  an  open  window  in  which 
the  head  and  shoulders  of  a man  appear.  Projecting  below  is 
the  prow  of  a gondola.  There  are  strong  reflections  in  the  canal. 
The  butterfly,  shaded,  is  on  the  wall,  half  way  up  the  plate,  near 
the  left  edge. 

Etching.  Height,  6^  inches;  width,  9 inches. 

First  State:  The  man  at  the  forge  is  tall  and  his  head  is  un- 
covered. Beyond  him  is  a large  well-defined  window.  The 
reflections  below  the  doorway  are  expressed  by  vertical  lines. 
Vanderbilt  Collection. 

Second  State:  The  tall  man  is  replaced  by  a short  man  wear- 
ing a cap  and  an  apron,  who  is  holding  a bar  with  each  hand. 
The  window  beyond  is  now  merely  indicated.  The  interior  is 
flooded  with  light.  There  is  additional  work  on  the  outer  wall. 
Diagonal  lines,  running  from  right  to  left,  are  added  across  the 
reflections  below  the  left  half  of  the  doorway  and  below  the 
adjacent  wall  at  the  left. 

Havemeyer  and  Mansfield  Collections. 

Third  State:  Strong  diagonal  lines,  running  from  left  to  right, 
are  added  in  the  reflections  below  the  wall  at  the  right. 

148 


whistler’s  etchings  and  dry-points 

Fourth  State:  Fine  diagonal  lines  are  added  upon  the  wall, 
conspicuously  below  the  butterfly  and  extensively  elsewhere. 
Numerous  horizontal  lines  are  added  in  the  reflections  below 
the  left  half  of  the  doorway. 

In  this  state,  one  of  the  “Twenty-six  Etchings.” 

Fifth  State:  Vertical  lines,  crossed  by  horizontal  lines,  are 
added  on  the  wall  at  the  right,  and  extended  into  the  canal, 
where  numerous  horizontal  lines  are  also  added.  Numerous 
diagonal  lines,  running  from  left  to  right,  are  added  in  the 
reflections  below  each  side  of  the  doorway. 

Sixth  State:  Diagonal  lines,  running  from  left  to  right,  are 
added  across  the  reflections  below  the  center  of  the  doorway. 
There  is  more  work  on  the  wall. 

Seventh  State  : Diagonal  lines  are  added  on  the  wall,  near  the 
right  upper  corner,  and  on  the  lower  part  of  the  wall,  at  the  left 
of  the  doorway.  There  is  more  work  on  the  frame  of  the 
outer  window  and  around  the  figure  in  the  window. 

21 1 QUIET  CANAL.  (W.  184.)  A narrow  canal,  passing  an  open 
landing-place  at  the  right,  above  which  a tree  spreads  its  branches, 
winds  to  the  left,  between  high  buildings.  Beyond  a prow, 
slightly  indicated,  two  boats,  in  one  of  which  a man  is  seated, 
lie  close  to  the  landing-place.  An  empty  boat  lies  by  the  wall 
of  the  nearest  house  at  the  right,  and  another  alongside  three 
posts  on  the  opposite  side  of  the  canal.  On  the  landing-place 
a woman  bends  over  the  scarcely  indicated  parapet,  and  a man 
stands  beyond  her.  There  is  no  butterfly. 

Etching.  Height,  9 inches;  width,  6 inches. 

First  State:  There  is  a confusion  of  lines  about  the  prow  of 
the  boat  in  which  the  man  is  seated. 

Lathrop  and  Vanderbilt  Collections. 

Second  State:  The  prow  of  the  boat  in  which  the  man  is 
seated  is  more  clearly  defined. 


149 


whistler’s  etchings  and  dry-points 


Third  State:  Fine  lines  in  dry-point  are  added  on  the  wall 
of  the  house  at  the  right,  below  the  foliage,  and  on  the  reflec- 
tions of  the  garden  and  in  the  canal. 

Fourth  State:  Fine  lines  in  dry-point  are  added  amid  the 
foliage,  and  strong  dry-point  lines  on  the  prow  of  the  boat  in 
which  the  man  is  seated,  and  near  the  foot  of  the  wall  of  the 
house  beyond  the  garden. 

In  this  state,  one  of  the  “Twenty-six  Etchings.” 

212  LA  SALUTE:  DAWN.  (W.  185.)  In  the  distance,  seen  across 
a broad  expanse  of  water,  are  the  domes  of  the  Salute,  at  the 
right  of  the  Dogana.  Somewhat  to  the  right  a large  campanile 
dominates  a group  of  buildings,  in  front  of  which  a small  tower 
rises  from  the  water.  At  the  extreme  right  two  domes  appear. 
At  the  left  is  a long  line  of  buildings,  including  the  Doge’s  Palace, 
near  which  lies  a steamship.  Beyond  the  buildings  two  small 
campaniles  and  the  great  campanile  are  seen,  and  the  domes  of 
San  Marco.  The  butterfly,  shaded,  is  near  the  left  edge,  in  the 
lower  half  of  the  plate. 

Etching.  Height,  5 inches;  width,  7^  inches. 

First  State:  There  is  a gondola  in  the  open  water  at  the  left, 
and  there  are  horizontal  lines  in  front.  The  sky  is  now  entirely 
clear. 

Second  State:  The  gondola  has  been  removed.  Numerous 
horizontal  lines  are  added  in  the  water,  between  the  lines  in 
front  and  the  buildings.  There  are  a few  slight  horizontal 
lines  in  the  sky,  suggestive  of  clouds. 

Third  State:  A number  of  short  diagonal  lines  are  added  in 
the  sky,  above  the  small  tower  at  the  right. 

Fourth  State:  The  lines  in  the  sky  and  the  horizontal  lines 
in  the  water,  between  the  lines  in  front  and  the  buildings,  have 
been  almost  entirely  removed. 

In  this  state,  one  of  the  “Twenty-six  Etchings.” 

15° 


whistler’s  etchings  and  dry-points 

213  LAGOON:  NOON.  (W.  186.)  In  front,  at  the  right,  there  is  a 
bridge  on  which  some  people  are  passing,  others  lingering.  Out 
in  the  lagoon,  beyond  a gondola  in  motion,  lies  a brig  with  three 
sails  spread.  Farther  away  are  numerous  smaller  craft,  some 
under  sail.  Clouds  hang  low  over  the  horizon.  There  are  sug- 
gestions of  foliage  in  the  distance,  at  the  right. 

Etching.  Height,  5 inches;  width,  8 inches. 

First  State:  The  foliage  is  suggested  chiefly  by  short  curved 
lines.  There  is  no  butterfly. 

Second  State:  The  foliage  is  further  suggested  by  numerous 
short  vertical  and  diagonal  lines.  There  is  additional  work  on 
boats  at  the  extreme  left.  There  is  no  butterfly. 

Mansfield  Collection. 

Third  State:  The  butterfly,  in  outline,  is  near  the  bottom  of 
the  plate,  below  the  bow  of  the  brig. 

In  this  state,  one  of  the  “Twenty-six  Etchings.” 

214  GLASS-FURNACE,  MURANO.  (W.  187.)  In  the  center  of  a 
roomy  interior  is  a large  furnace,  near  which  a man  is  standing, 
and  in  front  of  which  a man  is  seated.  At  the  left  is  a group  in 
which  stands  a man  wearing  a wide-brimmed  hat,  and  at  the 
right  are  other  groups.  In  the  wall  on  the  far  side,  above  a 
double  doorway,  is  a large  window,  and  at  the  right  are  two 
large  windows.  There  is  no  butterfly. 

Dry-point.  Height,  6%  inches;  width,  9X  inches. 

First  State:  The  walls  are  slightly  shaded  by  comparatively 
short  vertical  and  diagonal  lines.  The  head  of  the  man  stand- 
ing near  the  furnace  is  not  defined  and  his  figure  is  merely  sug- 
gested. 

Dick,  Havemeyer,  and  Mansfield  Collections. 

Second  State:  The  head  and  arms  of  the  man  standing  near 
the  furnace  are  defined.  Short  diagonal  lines  are  added  at  the 
left  of  his  head  and  above  the  head  of  the  man  with  the  wide- 


•5i 


whistler’s  etchings  and  dry-points 


brimmed  hat.  Longer  diagonal  lines  are  added  in  the  shading 
above  the  double  door. 

Avery  and  Lathrop  Collections. 

Third  State:  Numerous  short  diagonal  lines  are  added  on 
the  wall,  crossing  here  and  there  the  earlier  lines.  Fine  hori- 
zontal lines  are  added  at  the  left  of  the  man  near  the  furnace. 

Fourth  State:  Numerous  long  diagonal  lines  are  added  on 
the  walls  at  the  right. 

FISH-SHOP,  VENICE.  (W.  188.)  Under  an  arch  with  a flat 
roof  of  beams,  from  which  hangs  a lantern,  steps  lead  through  a 
building  from  a canal  to  a court  bordered  with  tall  houses.  At 
the  right  is  a shop  with  a large  open  window.  High  in  the  outer 
wall  at  the  left  is  a small  square  window  in  which  two  heads  ap- 
pear. A boy  is  standing  on  the  steps,  and  there  are  groups  of 
figures  in  front  of  the  houses  which  line  the  right  side  of  the 
court.  The  arch  of  a bridge  crossing  the  canal  springs  from  the 
building,  at  the  extreme  right.  A butterfly,  in  outline,  is  on  the 
opened  shutter  of  the  small  window,  and  a butterfly,  shaded, 
is  on  the  wall  below. 

Etching.  Height,  5^  inches;  width,  8^  inches. 

First  State:  Cross-beams  appear  distinctly  in  the  ceiling  of 
the  shop.  Within  the  shop  there  are  platters  in  racks  and 
there  is  a cup  on  a shelf.  The  arch  of  the  bridge  is  indicated 
by  a few  short  parallel  lines.  There  is  a series  of  short  vertical 
lines  along  the  top  of  the  plate,  above  the  archway. 

Vanderbilt  Collection. 

Second  State:  Within  the  shop,  a man  with  a full  beard,  and 
wearing  a hat  with  high  crown  and  broad  brim,  is  seated  at  the 
right,  behind  a railing,  with  his  hands  on  his  knees;  at  the  left 
a boy,  slightly  indicated,  is  walking  away.  Additional  shad- 
ing in  the  window  at  the  left  more  clearly  defines  the  two  faces. 
Short  vertical  lines  are  added  along  the  upper  edge  of  the  plate. 


whistler’s  etchings  and  dry-points 

Third  State:  The  earlier  work  within  the  fish-shop,  below  the 
upper  rack,  has  been  burnished  out.  Long  lines,  nearly  ver- 
tical, are  added  within  the  arch  of  the  bridge. 

Fourth  State:  Within  the  shop,  a youth,  indicated  in  dry- 
point,  wearing  a large  hat,  is  seated  at  the  right,  resting  his 
left  arm  upon  the  railing,  which  has  been  redrawn  and  made 
smaller.  Farther  within,  a boy,  merely  in  outline,  stands  in 
front  of  a counter,  behind  which,  faintly  drawn,  is  the  stand- 
ing figure  of  a woman.  Added  lines  obscure  the  beams  of  the 
shop  and  darken  the  roof  and  walls  of  the  archway. 

Fifth  State:  The  youth  and  boy  have  been  redrawn  in  etch- 
ing. The  boy  has  the  appearance  of  carrying  a child  on  his 
back.  There  is  additional  shading  in  the  window,  and  diag- 
onal lines  are  added  under  the  arch  of  the  bridge. 

Mansfield  Collection. 

Sixth  State:  There  is  additional  work  on  the  beams  of  the 
shop  and  archway,  and  the  lantern  is  more  clearly  defined. 
Strong  diagonal  lines  are  added  in  the  arch  of  the  bridge. 
Avery  Collection. 

Seventh  State:  Fine  diagonal  lines,  which  run  from  left  to 
right,  are  added  in  the  shading  of  the  arch  of  the  bridge.  Ver- 
tical dry-point  lines,  indicating  reflections,  are  added  here  and 
there  in  the  canal. 


216  THE  DYER.  (W.  189.)  At  the  right,  on  the  lowest  step  of  a 
great  doorway,  enclosing  a fan-shaped  grille  within  a round  arch 
and  opening  on  a canal,  a dyer  stands  bending  forward  and  dip- 
ping in  the  water  a fabric  held  with  both  hands.  A dark  passage- 
way, in  which  is  a single  window,  leads  to  a well-lighted  court. 
High  on  the  outer  wall,  at  the  right  of  the  doorway,  is  a barred 
window.  The  butterfly,  shaded,  is  on  the  lower  part  of  the  outer 
wall,  at  the  left. 

Etching.  Height,  12  inches;  width,  9 V%  inches. 


1 53 


whistler’s  etchings  and  dry-points 

First  State:  The  shading  of  the  walls  of  the  passageway  is 
largely  in  short  vertical  lines.  There  are  spaces  at  the  right, 
within  the  shading,  which  are  nearly  white. 

Mansfield  Collection. 

Second  State:  Numerous  diagonal  lines,  running  from  left  to 
right,  cross  the  earlier  lines  of  the  shading,  deepening  it  through- 
out. Short  dry-point  lines  are  added  in  the  spaces  that  were 
nearly  white,  and  in  the  reflections  of  the  figure  and  the  fabric. 
Havemeyer  Collection. 

Third  State:  The  man’s  left  leg  is  now  more  precisely  drawn. 
Strong  diagonal  lines  in  dry-point,  running  from  left  to  right, 
are  added  below  his  figure,  and  short  horizontal  lines  in  its 
reflection.  Vertical  lines  have  been  removed  from  the  reflec- 
tion of  the  fabric. 

Scholle  Collection. 

Fourth  State:  The  man’s  left  leg  has  been  erased  and  partly 
redrawn,  but  is  not  fully  expressed.  Short  vertical  lines  are 
added  above  the  lowest  step,  at  the  left  of  the  fabric. 

Benedict  and  Dick  Collections. 

217  LITTLE  SALUTE.  (W.  190.)  Beyond  wide  water  rises  the 
Salute,  with  adjacent  buildings  at  the  right  and  with  shipping  in 
front.  Across  the  canal  at  the  left  are  buildings  slightly  indica- 
ted, and  far  at  the  right  is  a church  with  a dome.  On  the  water, 
at  the  right,  are  two  gondolas  and  a boat  under  sail. 

Dry-point.  Height,  3X  inches;  width,  8 X inches. 

First  State:  The  shipping  in  front  of  the  Salute  is  slightly 
indicated.  The  domes  of  the  church  and  the  hulls  and  sails  of 
the  boats  are  dark  with  burr.  There  are  no  reflections  of  the 
nearer  gondola.  There  is  no  butterfly. 

Avery  Collection. 

Second  State:  The  shipping  is  well  defined.  Short  horizontal 
lines  indicate  the  reflections  of  the  nearer  gondola.  The  but- 


154 


whistler’s  etchings  and  dry-points 

terfly,  shaded,  is  toward  the  bottom  of  the  plate,  below  the 
nearer  gondola. 

218  WOOL-CARDERS.  (W.  191.)  Through  a large  doorway,  under 
a round  arch  framing  an  iron  grille  fashioned  in  squares,  stone 
steps  lead  from  a canal  to  an  interior  where  two  men  appear,  one 
standing  at  the  right,  the  other  seated  at  the  left.  There  is  no 
butterfly. 

Dry-point.  Height,  1 \yi  inches;  width,  9 inches. 

First  State:  Both  figures  are  fairly  defined  and  the  shading 
about  them  is  strong  and  harmonious.  A white  post  appears 
beyond  the  seated  man.  There  are  strong  reflections  below 
the  doorway. 

Mansfield  Collection. 

Second  State:  The  figures  in  the  doorway  have  been  redrawn, 
but  are  vaguely  indicated.  Numerous  fine  lines  express  the 
shading  about  them  and  obscure  the  white  post. 

Havemeyer  Collection. 

Third  State:  A series  of  diagonal  lines,  running  from  left  to 
right,  is  added  in  the  upper  part  of  the  shading  at  the  left,  and 
additional  lines  obliterate  the  post. 

Lathrop  Collection. 

219  ISLANDS.  (W.  193.)  A rapid  sketch  of  domes,  campaniles, 
and  sails,  and  their  reflections,  seen  across  a lagoon,  in  which,  at 
the  right,  close  together,  are  two  posts.  There  is  no  butterfly. 
Dry-point.  Height,  5 inches;  width,  8 inches. 

First  State:  The  outlines  of  a large  gondola  are  conspicuous 
in  the  lower  part  of  the  plate.  In  this  state  there  are  many 
spots  in  the  copper. 

Avery  Collection. 

Second  State:  The  outlines  of  the  gondola  have  been  for  the 
most  part  removed.  Numerous  slight  lines  are  added  in  the 


i55 


S 


whistler’s  etchings  and  dry-points 

water,  at  the  left.  Nearly  all  of  the  spots  in  the  copper  have 
been  taken  out. 

Havemeyer  and  Mansfield  Collections. 

220  NOCTURNE:  SHIPPING.  (W.  194.)  Across  a wide  stretch  of 
open  water,  two  ships  lie  close  together,  at  the  right.  Near  the 
center  are  more  ships,  and  at  the  left  are  smaller  vessels  with 
bare  masts.  There  is  no  butterfly. 

Dry-point.  Height,  6x&  inches;  width,  8^4  inches. 

First  State:  The  masts  of  the  smaller  vessels  stand  out  in 
relief  against  the  sky.  The  upper  yards  of  the  ships  are  not  ex- 
pressed. Buildings  are  suggested  at  the  extreme  right.  Several 
reflections  and  a few  horizontal  lines  appear  in  the  water. 
There  are  evidences  of  roughness  in  some  portions  of  the  plate. 
Benedict  Collection.  Upon  the  impression  in  this  collection 
Whistler  wrote:  “ 1st  proof.” 

Second  State:  Short  vertical  lines,  between  the  earlier  lines, 
suggest  a row  of  buildings  behind  the  masts  of  clustered  vessels 
at  the  left.  A cloud  above  the  shipping  near  the  center  is 
expressed  by  a series  of  short  parallel  lines.  Long  horizontal 
lines  are  added  in  the  water,  near  the  bottom  of  the  plate. 
Nearly  all  traces  of  the  roughness  have  been  removed  from 
the  plate. 

Havemeyer  and  Mansfield  Collections. 

Third  State:  The  short  parallel  lines  in  the  sky  have  been 
removed. 

Fourth  State:  Vertical  lines,  indicating  reflections,  are  added 
below  the  buildings  at  the  extreme  left. 

Fifth  State:  The  buildings  at  the  right  and  the  horizontal 
lines  in  the  sky  and  water  have  been  removed.  Fine  diagonal 
lines  are  added  on  the  hulls  of  the  ships,  and  the  upper  yards 
of  the  ships  are  expressed. 

Mansfield  Collection. 


>56 


whistler’s  etchings  and  dry-points 

Sixth  State:  There  is  additional  work  on  the  shipping  and 
reflections. 

In  impressions  of  the  later  states  a night  effect  is  given  by 
extensive  inking  of  the  plate. 

221  OLD  WOMEN.  (W.  195.)  At  the  right,  on  the  pavement  in 
front  of  two  adjoining  open  doorways,  two  women  are  standing 
and  four  women  are  seated.  On  the  pavement  at  the  left,  near 
an  open  window  in  which  are  two  flower-pots,  a woman  stands 
with  arms  akimbo.  A child  is  seated  against  the  house-wall, 
below  the  window,  and  a boy  wearing  a hat  stands  by  the  wall, 
at  the  left  of  the  woman.  On  the  pavement,  near  the  woman, 
is  an  empty  chair.  The  butterfly,  shaded,  is  near  the  top  of  the 
piate,  at  the  left. 

Dry-point.  Height,  4^8  inches;  width,  7%  inches. 

222  STABLES.  (W.  198.)  In  the  farther  of  two  adjoining  build- 
ings at  the  corner  of  a canal,  seen  beyond  an  arch,  slightly  indi- 
cated, is  a dark  passageway  which  a boat  is  entering,  on  the 
stern  of  which  stands  a man.  In  the  wall  at  the  left  is  a round- 
arched  window  with  closed  shutters.  In  the  building  at  the 
right  is  a round-arched  doorway  with  steps  above  the  level  of 
the  water.  At  the  left  are  suggestions  of  two  figures.  There  is 
no  butterfly. 

Dry-point.  Height,  inches;  width,  9 inches. 

First  State:  In  the  lower  part  of  the  passageway  there  is 
stronger  shading  than  in  the  upper  part.  The  man  standing 
on  the  boat  is  somewhat  vaguely  indicated. 

Mansfield  Collection.  On  the  impression  in  this  collection 
Whistler  wrote:  “1st  proof.” 

Second  State:  The  shading  of  the  passageway  is  made  uni- 
form through  much  additional  work.  Strong  lines  are  added 
on  the  stern  of  the  boat.  The  man’s  figure  is  more  defined. 
Coolidge  Collection. 


i57 


whistler’s  etchings  and  dry-points 


223  NOCTURNE:  SALUTE.  (W.  199.)  Across  an  expanse  of  the 
Bay  of  Venice  rise  the  domes  of  the  Salute,  appearing  at  the  left 
of  the  Dogana.  At  the  right,  in  the  distance  there  is  shipping  and 
below  is  a solitary  gondola.  At  the  left,  slightly  indicated,  are 
buildings  and  their  reflections.  The  butterfly,  shaded,  is  below 
the  middle  of  the  plate,  near  the  left  edge. 

Etching.  Height,  5%  inches;  width,  8%  inches. 

First  State:  Vertical  lines,  vigorously  drawn,  shade  the  cen- 
tral group  of  buildings  and  carry  the  reflections  of  the  Salute 
almost  to  a point. 

Mansfield  Collection.  On  the  impression  of  this  state  in  this 
collection  Whistler  wrote:  “ 1st  State,  1st  Proof.” 

Second  State:  The  reflections  of  the  Salute  are  shortened. 
Havemeyer  Collection. 

Third  State:  Short  dry-point  lines  are  added  on  the  domes 
and  walls  of  the  Salute. 

Mansfield  and  Vanderbilt  Collections. 

Fourth  State:  Numerous  fine  diagonal  lines  in  dry-point  are 
added  on  the  Salute,  and  short  horizontal  lines  in  dry-point 
are  added  in  the  reflections  at  the  left. 

Benedict  and  Caldwell  Collections. 

224  THE  GONDOLA  UNDER  THE  BRIDGE.  An  empty  gondola 
lies  partly  under  a bridge  with  a high  parapet,  which  spans  a nar- 
row canal  between  tall  buildings.  Flush  with  the  outer  walls  of 
the  buildings  at  the  left,  columns  support  open  arches,  through 
one  of  which  steps  lead  from  the  canal.  There  is  no  butterfly. 
Etching.  Height,  11  $4  inches;  width,  inches. 

Shown  in  Mr.  Bacher’s  book,  ‘ With  Whistler  in  Venice,”  as  “A 
Quiet  Canal.” 

First  State:  In  pure  etching.  There  is  a clear  space  above 
vertical  lines  which  indicate  the  reflection  of  the  gondola. 
Mansfield  Collection. 


158 


whistler’s  etchings  and  dry-points 


Second  State:  A part  of  the  gondola  has  been  erased,  and 
dry-point  lines  are  added  in  what  was  a clear  space  above  the 
reflection  of  the  gondola. 

225  THE  STEAMBOAT,  VENICE.  Beyond  a quay,  slightly  indi- 
cated, alongside  of  which  is  a man  in  a gondola,  a side-wheel 
steamboat  lies  out  in  the  bay,  near  a two-masted  fishing-boat. 
Farther  away,  at  the  right,  are  boats  under  sail  and  a boat  with 
two  bare  masts,  and  here  and  there  are  numerous  gondolas  in 
motion.  In  the  distance  are  lines  of  buildings,  above  which 
rise  the  domes  of  the  Salute,  under  a heavily  clouded  sky.  There 
is  no  butterfly. 

Etching.  Height,  iofT  inches;  width,  7X  inches. 

Shown  in  Mr.  Bacher’s  book  as  “The  Little  Salute.” 

First  State:  There  are  no  lines  in  the  water  near  the  quay, 
at  the  left  of  the  man  in  the  gondola. 

Mansfield  Collection. 

Second  State:  A line  extends  from  the  gondola  in  front  of 
the  quay  to  the  center  of  the  plate,  where  there  are  indica- 
tions of  figures.  There  are  suggestions  of  two  heads  at  the 
left  of  the  quay. 

226  SHIPPING,  VENICE.  At  the  right,  barges  and  fishing-boats 
lie  along  a quay  on  which  three  men  are  standing.  Near  the 
center,  across  a reach  of  water,  is  a ship  under  sail,  at  the  right  of 
which  are  two  vessels  with  sails  spread,  and  at  the  left,  boats  with 
bare  masts.  Farther  at  the  left  are  more  boats,  some  of  them 
faintly  indicated.  In  the  distance,  on  either  side,  is  a row  of 
buildings,  and  at  the  extreme  left  rises  the  church  of  San  Gior- 
gio. There  is  no  butterfly. 

Etching.  Height,  n^s  inches;  width,  8y£  inches. 

First  State:  About  the  center  of  the  plate,  some  slight  work 
appears  near  the  quay. 


i59 


whistler’s  etchings  and  dry-points 


Second  State:  Additional  work  near  the  quay,  about  the  cen- 
ter of  the  plate,  suggests  the  posts  and  railing  of  a bridge. 
Freer  Collection. 


227  VENETIAN  COURT.  A lofty  passageway,  roofed  with  heavy 
beams  strongly  defined,  and  supported  in  front  by  two  columns 
slightly  indicated,  leads  to  a small  court  with  high  buildings  on 
either  side.  Beyond  stands  a house  with  an  open  doorway  at  the 
left  and  with  four  windows  above.  The  two  lower  windows  have 
square  panes;  a shutter  swings  back  from  one  of  the  upper  win- 
dows, and  the  shutter  of  the  other  is  closed.  High  in  an  outer 
wall  at  the  right  is  a narrow  flat  window  with  square  panes.  A 
bracket,  supporting  a lantern,  projects  from  the  right  upper  cor- 
ner of  the  wall,  at  the  entrance  to  the  passageway.  A woman, 
vaguely  indicated,  is  seated  within  the  doorway.  A suggestion 
of  the  butterfly,  in  outline,  appears  half  way  up  the  plate,  near  the 
column  at  the  left. 

Dry-point.  Height,  1 1%  inches;  width,  7%  inches. 

First  State:  The  shading  of  the  beams  is  in  vertical  lines. 
Mansfield  Collection.  Upon  the  impression  in  this  collection 
Whistler  wrote:  “ 1st  State — Venice  1879.” 

Second  State:  Horizontal  and  a few  diagonal  lines  are  added 
on  the  shading  of  the  beams,  and  a few  lines  are  added  else- 
where. 

Freer  Collection. 


228  VENICE.  (Sup.  361.)  Across  a broad  expanse  of  water,  in 
which  numerous  posts  are  set,  the  Salute  rises  loftily,  near  the 
center,  with  the  Dogana  and  a long  line  of  shipping  at  the  right. 
A long  row  of  buildings  at  the  left  ends  with  palaces,  in  front 
of  which  lie  a number  of  boats  with  sails  partly  raised.  Out  in 
the  bay,  near  the  center  is  a boat  with  two  bare  masts;  at  the 
right  is  a boat  under  sail;  between  them  are  two  gondolas  in 


160 


whistler’s  etchings  and  dry-points 

motion,  and  at  the  left  is  a third  gondola.  There  is  no  butterfly. 
Dry-point.  Height,  7%  inches;  width,  11%  inches. 

Avery,  Freer,  and  Parsons  Collections. 

229  VENETIAN  WATER-CARRIER.  A young  girl  walking  for- 
ward, looking  down,  carries  a pail,  slightly  indicated,  in  either 
hand.  She  wears  a kerchief  about  her  shoulders  and  a scarf  over 
her  head.  There  is  no  butterfly. 

Dry-point.  Height,  7 % inches;  width,  5 inches. 

Freer  and  Mansfield  Collections. 


230  WHEELWRIGHT.  (W.  162.)  The  interior  of  a wheelwright’s 
shop,  with  peaked  roof,  in  which  are  skylights,  and  with  cross- 
beams, on  which  material  is  stored.  In  the  foreground  at  the 
right,  near  an  anvil,  a man  is  bending  over  a wheel.  Beyond  him 
a man  stands  holding  a wheel  upright.  At  the  extreme  right 
two  men  are  at  work  by  a forge,  beyond  which  material  is  ranged. 
In  the  distance,  two  men  are  bending  forward  in  front  of  a large 
wheel  at  the  right,  and  a man  stands  in  front  of  a bench  at  the 
left.  At  the  far  end  is  a large  covered  vehicle.  The  butterfly, 
shaded,  is  near  the  bottom  of  the  plate,  at  the  left. 

Etching.  Height,  5 inches;  width,  67A  inches. 

First  State:  In  pure  etching.  The  upright  piece,  seen  above 
the  head  of  the  man  standing  by  a wheel  at  the  right,  is  with- 
out shading.  There  is  a second  butterfly,  shaded,  on  the  left 
end  of  the  nearest  cross-beam. 

Second  State:  Strong  shading  is  added  in  dry-point  in  the 
roof  and  background  and  on  the  vehicle. 

Third  State:  Fine  lines  are  added  in  the  shading  of  the  roof, 
and  the  shading  in  the  background  and  on  the  vehicle  is  deep- 
ened. The  upright  piece  above  the  head  of  the  man  standing 
by  a wheel  at  the  right  is  shaded  near  the  top  by  long  dry-point 
lines. 


161 


whistler’s  etchings  and  dry-points 


Fourth  State:  The  lines  on  the  upper  part  of  the  upright  piece 
have  been  removed.  Strong  dry-point  lines  are  added  in  the 
roof,  and  fine  dry-point  lines  shade  various  objects  at  the  right. 
The  butterfly  has  been  removed  from  the  end  of  the  cross-beam. 
In  this  state,  one  of  the  “Twenty-six  Etchings.” 

231  TEMPLE.  (W.  170.)  On  a street-corner  stands  a large  house, 
at  the  side  of  which,  by  a lamp-post,  is  a wagon  to  which  are  at- 
tached two  horses,  baiting.  From  a shed  at  the  right,  by  the  side 
of  another  house,  appear  two  horses,  also  baiting.  At  the  side  of 
the  shed  is  a leafless  tree.  A row  of  houses  extends  along  the 
street  beyond.  The  butterfly,  shaded,  is  toward  the  left  lower 
corner  of  the  plate. 

Etching.  Height,  4 inches;  width,  6 inches. 

One  of  the  “Twenty-six  Etchings.” 

232  LITTLE  COURT.  (W.  173.)  At  the  farther  side  of  a court- 
yard is  a large  building  with  a broad  doorway  near  the  center, 
and  two  small  adjoining  open  doorways  at  the  left,  and  a row  of 
tall  windows  above.  At  the  right  of  the  broad  doorway  is  a cart. 
On  the  rounded  front  of  a shop  at  the  left  buckets  and  brushes  are 
hung.  There  are  people  in  the  doorways,  some  standing  and 
others  seated,  and  there  are  men  and  children  in  the  courtyard. 
The  butterfly,  shaded,  is  on  the  wall,  between  windows  at  the  right. 
Etching.  Height,  4J4  inches;  width,  6J4  inches. 

One  of  the  “Twenty-six  Etchings.” 

233  LOBSTER-POTS.  (W.  174.)  In  front,  and  in  the  distance  at 
the  right,  are  a number  of  lobster-pots  on  a curving  beach.  At 
the  left,  merely  suggested,  is  a boat.  Near  the  right  lower  cor- 
ner: “Selsea  Bill.”  The  butterfly,  shaded,  is  at  the  right  edge 
of  the  plate,  near  the  bottom. 

Etching.  Height,  4 yi  inches;  width,  '-]]/%  inches. 

One  of  the  “Twenty-six  Etchings.” 

162 


whistler’s  etchings  and  dry-points 


234  DRURY  LANE.  (W.  176.)  Seen  beyond  a wide  passageway 
through  a building,  there  is  a shop  near  a lamp-post  at  the  bend 
of  a street,  and  across  the  street  are  two  shops.  In  the  foreground 
are  five  children,  slightly  indicated,  and  there  are  figures  on 
the  pavements  beyond.  The  butterfly,  shaded,  is  on  the  wall  of 
the  building,  near  the  right  upper  corner. 

Etching.  Height,  6y%  inches;  width,  4 inches. 

One  of  the  “Twenty-six  Etchings.” 

235  REGENT’S  QUADRANT.  (W.  192.)  A London  street,  seen 
from  under  an  arcade  that  has  a supporting  column  at  the  left. 

In  the  street  are  five  hansoms,  a four-wheeler,  a carriage  and 
many  people.  Across  the  street  there  are  shops.  The  butterfly, 
shaded,  is  on  the  beam  of  the  arcade,  at  the  right. 

Etching.  Height,  inches;  width,  yy  inches. 

First  State:  In  front  are  two  women  walking  to  the  right, 
and  at  the  left  of  the  column  a woman  is  hurrying  to  the  left. 

Beyond  are  suggestions  of  other  figures.  There  is  only  slight 
shading  on  the  beam  of  the  arcade. 

Second  State:  There  is  strong  shading  on  the  beam  of  the 
arcade. 

Avery  Collection. 

Third  State:  Both  of  the  women  in  front  and  the  woman  at 
the  left,  and  the  suggestions  of  other  figures  beyond,  have  now 
been  removed.  The  figure  of  a small  girl  is  added,  between  a 
lady  and  a boy  running,  near  the  center. 

Mansfield  Collection. 

Fourth  State:  Work  in  dry-point  is  added  on  the  figure  of 
the  small  girl. 

236  ALDERNEY  STREET.  (W.  196.)  A large  house  with  a por- 
tico stands  behind  an  iron  railing  on  a street-corner  at  the  right.  y 
On  the  opposite  side  of  the  street  are  two  large  houses  with  por- 

163 


whistler’s  etchings  and  dry-points 


J 

ticos,  and  on  the  far  corner  of  a cross-street  is  another  large  house. 
A horse  attached  to  a covered  vehicle  stands  in  the  foreground 
at  the  right,  and  down  the  street  two  hansoms  are  seen,  and  a 
number  of  people  walking.  The  butterfly,  shaded,  is  high  on 
the  wall  of  the  house  at  the  right. 

Etching.  Height,  7 inches;  width,  4^  inches. 

Whistler  lodged  for  a while  in  Alderney  Street  after  returning 
from  Venice. 

First  State:  The  plate  is  without  lettering. 

Havemeyer  and  Mansfield  Collections. 

Second  State:  Engraved  along  the  lower  edge  of  the  plate, 
at  the  left:  “Gazette  des  Beaux-Arts”;  at  the  right:  “Imp. 
Cadart.” 

In  this  state,  published  in  the  “Gazette  des  Beaux-Arts”  for 
April,  1881,  with  an  article  on  “James  Whistler ” by  Theodore 
Duret,  reprinted  in  1885  in  “Critique  d’Avant  Garde.” 

THE  SMITHY.  (W.  197.)  The  interior  of  a blacksmith’s  shop, 
with  a large  window  at  the  left,  near  which  a man  stands  bending 
over  a work-bench.  Farther  at  the  left  is  a small  window,  show- 
ing four  panes,  and  in  the  high-peaked  roof  are  two  skylights, 
the  upper  one  partly  seen.  At  the  right  two  men  are  bending 
over  an  anvil,  and  beyond  is  a man  standing  near  a forge.  In  the 
foreground  are  two  blacksmith's  hammers;  in  the  background, 
near  a tall  cupboard,  is  a confusion  of  tools  and  other  objects. 
A beam  extends  diagonally  from  the  peak  of  the  roof,  in  the  back- 
ground. The  butterfly,  shaded,  is  at  the  foot  of  the  anvil. 
Etching.  Height,  6>s  inches;  width,  9 inches. 

First  State:  The  lower  skylight  is  irregular  in  form.  Short 
diagonal  lines  slightly  shade  the  beam.  The  rafters  above  the 
large  window  are  distinct  and  nearly  white,  and  there  is  an 
irregular  white  space  in  the  background,  behind  the  cupboard. 
The  front  of  the  forge-flue,  for  some  distance  below  and  above 
the  bellows-bar,  is  unshaded,  and  a considerable  space  in  the 

164 


whistler’s  etchings  and  dry-points 


right  upper  corner  of  the  plate  is  left  blank.  The  man  stand- 
ing at  the  left  of  the  anvil  is  only  slightly  indicated. 

Benedict  Collection. 

Second  State:  Diagonal  lines,  running  from  left  to  right,  are 
added  along  the  top  of  the  plate,  near  the  center,  and  there  is 
additional  work  in  the  background,  above  the  beam. 

Avery  and  Mansfield  Collections. 

Third  State:  Through  much  additional  work  in  dry-point  the 
beam  is  uniformly  shaded,  the  rafters  are  made  less  conspicuous 
and  the  background  generally  is  harmonized.  Diagonal  dry- 
point  lines  are  added  along  the  hip  of  the  man  bending  over  the 
anvil. 

Buckingham  Collection. 

Fourth  State:  There  is  further  work  upon  the  background. 
The  lower  skylight  is  given  a more  regular  form.  Short  dry- 
point  lines  are  added  on  the  front  of  the  forge-flue,  below  and 
above  the  bellows-bar.  Nearly  all  traces  of  the  figure  at  the 
left  of  the  anvil  have  been  removed. 

Lathrop  Collection. 

Fifth  State:  Much  strong  shading  is  added  on  the  forge-flue, 
and  the  rafters  are  further  obscured.  The  irregular  space  back 
of  the  cupboard  is  filled  with  fine  dry-point  lines. 

Benedict  Collection. 

Sixth  State:  The  lower  skylight  is  now  shaded  throughout. 
There  is  still  more  work  in  the  background,  and  the  right  upper 
corner  of  the  plate  is  shaded. 

Dickerman  and  Wrenn  Collections. 

38  SWAN  AND  IRIS.  (Sup.  310.)  In  front  is  a large  iris;  at  the 
left  a swan  is  fluttering  in  a stream  which  flows  under  the  arch  of 
a bridge.  Beyond  the  bridge  are  barges  under  sail,  and  on  the 
river  bank,  at  the  left,  are  four  tall  trees  and  a low  shed,  and 
two  high  chimneys. 


165 


whistler’s  etchings  and  dry-points 

Etching.  Height,  5X  inches;  width,  3X  inches. 

Etched  from  a sketch  in  oils  by  Cecil  Lawson. 

First  State:  The  sails  of  the  barges  are  slightly  shaded. 

Second  State:  The  sails  are  heavily  shaded.  Fine  diagonal 
lines  are  added  in  the  reflections  of  the  river  bank. 

In  this  state,  published  as  an  illustration  in  “Cecil  Lawson,  a 
Memoir  by  Edmund  W.  Gosse”;  London,  The  Fine  Art  So- 
ciety, Limited,  1883. 

239  DORDRECHT.  (W.  200.)  At  the  right,  in  a broad  expanse 
of  water,  a boat  with  a jib  and  a mainsail  nearly  set  partly  hides 
another  boat  with  the  mainsail  raised.  At  the  left  are  two  boats 
with  sails  lowered.  In  the  distance  a building  with  a dome  rises 
near  a clump  of  trees,  and  at  the  right  and  left  are  sketchy  indi- 
cations of  shipping  and  the  town.  The  butterfly,  in  outline,  is  in 
the  lower  part  of  the  plate,  at  the  left. 

Etching.  Height,  6 inches;  width,  9 inches. 

Mr.  Wedmore  states  that  this  etching  was  done  in  1884. 

First  State:  The  jib  of  the  nearer  boat  with  raised  sail  is  un- 
shaded, and  the  mainsail  is  in  pure  etching. 

Mansfield  Collection. 

Second  State:  The  jib  of  the  nearer  boat  with  raised  sail  is 
slightly  shaded  by  a series  of  short  dry-point  lines,  and  dry- 
point  lines  are  added  on  the  mainsail. 

240  LITTLE  DORDRECHT.  In  the  foreground  a bridge,  which 
three  men  are  crossing,  leads  to  a wharf  on  which  are  several 
figures  and  a horse  and  a cart.  Out  in  the  river  is  a cluster  of 
boats  with  masts,  on  some  of  which  sails  are  partly  raised.  The 
farther  bank  is  lined  with  trees  slightly  indicated.  The  butter- 
fly, shaded,  is  near  the  lower  edge  of  the  plate,  at  the  right. 
Etching.  Height,  3^  inches;  width,  5%  inches. 

Freer  and  Mansfield  Collections. 

166 


whistler’s  etchings  and  dry-points 


241  BOATS  ON  THE  MAAS.  On  the  broad  river  are  several  boats 
with  sails  spread  or  partly  furled.  At  the  right  is  a dome,  and  in 
the  distance  are  two  windmills  and  a line  of  trees.  The  butter- 
fly, in  outline,  is  near  the  lower  edge  of  the  plate,  at  the  right. 
Etching.  Height,  2^8  inches;  width,  3 inches. 

Freer  and  Mansfield  Collections. 

242  LITTLE  WHEELWRIGHT.  Fronting  on  a canal  are  two  ad- 
joining buildings  with  gable  ends,  each  with  a door  and  side  win- 
dow and  a window  above,  differently  placed.  Abutting  on  the 
building  at  the  left  are  two  low  sheds,  next  a garden  behind  pal- 
ings. In  front  of  the  buildings  are  several  tires,  a large  wheel 
and  a grindstone.  The  butterfly,  in  outline,  is  in  the  sky,  above 
the  garden. 

, Etching.  Height,  2^8  inches;  width,  3 inches. 

Freer  and  Mansfield  Collections. 

243  A CORNER  OF  THE  PALAIS  ROYAL.  (W.  201.)  Through 
a building  forming  a corner  with  another  at  the  left,  a passage 
leads  under  an  arch,  between  columns  of  an  arcade,  from  an  open 
space  in  front  to  a court  beyond.  Above  the  passage  a long  win- 
dow is  expressed,  on  each  side  of  which  the  lower  part  of  a win- 
dow is  indicated.  A lantern  hangs  in  the  arcade,  at  the  left.  In 
the  open  space  two  women  and  a girl  are  standing  together  at  the 
left,  and  farther  away  two  women,  one  merely  indicated,  are 
standing  near  a woman  bending  over  a hand-cart.  At  the  right 
stands  an  open  carriage,  and  a carriage  is  coming  through  the 
passage.  The  butterfly,  in  outline,  is  toward  the  bottom  of  the 
plate,  near  the  right  edge. 

Etching.  Height,  5%  inches;  width,  y/2  inches. 

First  State:  The  lower  panes  of  the  long  window  are  almost 
unshaded,  and  the  shading  in  the  passage  and  arcade  is  com- 
paratively slight. 

Avery  Collection. 


167 


whistler’s  etchings  and  dry-points 


Second  State:  There  is  strong  shading  on  the  lower  panes  of 
the  long  window  and  in  the  passage  and  arcade. 

244  A SKETCH  AT  DIEPPE.  (W.  202.)  On  a beach  in  the  fore- 
ground a woman  is  walking,  with  parasol  raised,  and  children 
are  at  play.  Beyond  are  barriers,  behind  which  are  a number 
of  people.  In  the  distance  is  a fortification,  with  a lighthouse  at 
the  right  and  with  a flagpole  at  the  left.  Two  vessels  are  lying 
in  front  of  the  fortification.  The  butterfly  is  below  the  middle 
of  the  plate,  near  the  left  edge. 

Etching.  Height,  2 inches;  width,  3X  inches. 

First  State:  The  flagpole  is  faintly  indicated.  The  butterfly 
is  in  outline. 

Mansfield  Collection. 

Second  State:  The  flagpole  is  distinctly  expressed.  There  is 
slight  additional  work  on  the  figures.  The  butterfly  is  shaded. 

245  BOOTH  AT  A FAIR.  (W.  203.)  Sketched  on  the  upper  part 
of  the  plate,  is  a booth  of  canvas  stretched  over  poles.  The 
interior  of  the  booth,  within  which  two  people  are  seated,  is 
strongly  shaded.  Without,  at  the  left  a woman  is  bending  over 
a table,  and  at  the  right  there  are  two  women,  slightly  indicated. 
Below,  at  the  right,  stands  a child.  The  butterfly,  in  outline,  is 
above  the  middle  of  the  plate,  near  the  right  edge. 

Etching.  Height,  5T6  inches;  width,  3^  inches. 

Mr.  Wedmore  says  that  it  is  a booth  at  a French  country  fair. 

246  COTTAGE  DOOR.  (W.  204.)  A tall  slender  girl  wearing  a sun- 
bonnet  stands,  with  feet  crossed,  in  front  of  a cottage-wall,  be- 
tween a window  at  the  right  and  an  open  doorway  at  the  left. 
Braced  against  the  opposite  side  of  the  doorway  stands  another 
tall  girl  wearing  a hat.  A smaller  girl,  wearing  a similar  hat,  is 
standing  within  the  doorway,  and  a child  is  stooping  on  the  pave- 

168 


whistler’s  etchings  and  dry-points 


ment  outside.  The  butterfly,  in  outline,  is  on  the  wall,  near  the 
left  edge  of  the  plate. 

Etching.  Height,  2 y%  inches;  width,  3 inches. 

Mr.  Wedmore  says  that  this  was  sketched  in  Cumberland. 

247  THE  VILLAGE  SWEET-SHOP.  (W.  205.)  In  front  of  an 
open  doorway  at  the  left  two  children  are  seated,  and  in  the  door- 
way a girl  and  a child  are  standing.  Within,  dimly  seen,  is  an- 
other figure.  At  the  right  is  a shop-window  filled  with  boxes 
and  jars.  Propped  against  the  wall,  between  the  doorway  and  ^ 
the  window,  is  a large  shutter.  The  butterfly,  shaded,  is  on  the 
wall,  half  way  up  the  plate,  near  the  right  edge. 

Etching.  Height,  3X  inches;  width,  4J4  inches. 

248  THE  SEAMSTRESS.  (W.  206.)  A woman  seated  at  the  right 
is  examining  some  work  held  by  a woman  who  stands  facing  her. 
Conspicuous  on  a shelf  in  the  background  are  two  vases.  The 
butterfly,  in  outline,  is  above  the  middle  of  the  plate,  at  the  left. 
Etching.  Height,  3 inches;  width,  2^8  inches. 

249  THE  BONNET-SHOP.  Within  the  narrow  doorway  of  a shop 
reached  by  steps,  a woman  wearing  a hat  stands  facing  to  the 
right.  Bonnets  and  ribbons  are  seen  in  the  windows  on  either 
side,  and  at  the  top  of  the  window  at  the  left  is  the  sign:  “Cheap 
Boots.”  Two  children  on  the  pavement  are  looking  into  the 
other  window.  The  butterfly,  in  outline,  is  below  the  window  at 
the  left. 

Etching.  Height,  3 inches;  width,  2^  inches. 

Freer  Collection. 

250  THE  TOWING-PATH.  On  the  farther  bank  of  a stream  is  a 
clump  of  trees,  near  which  are  three  horses.  At  the  left  a man 
is  walking  forward,  and  at  the  right  are  three  figures  behind  a 

169 


whistler’s  etchings  and  dry-points 

railing.  The  butterfly,  in  outline,  is  near  the  bottom  of  the 
plate,  at  the  left. 

Etching.  Height,  2 inches;  width,  3X  inches. 

Freer  and  Mansfield  Collections. 

251  ST.  JAMES’S  PARK.  (W.  207.)  Near  a tree  with  wide-spread- 
ing branches  is  an  open  carriage,  with  two  men  on  the  box. 
Other  carriages  are  seen  in  the  distance,  and  at  the  right  are  a 
few  people  on  foot.  The  butterfly,  shaded,  is  below  the  middle  of 
the  plate,  near  the  left  edge. 

Etching.  Height,  2 $4  inches;  width,  3 inches. 

252  A FRAGMENT  OF  PICCADILLY.  (W.  208.)  At  the  right, 
sketched  high  on  the  plate,  are  the  upper  stories  of  a row  of 
buildings.  Below  there  are  groups  of  figures.  Conspicuous  among 
the  nearest  figures  is  a man  with  a tall  hat  and  dark  coat.  The 
butterfly,  in  outline,  is  above  the  middle  of  the  plate,  near  the 
right  edge. 

Etching.  Height,  4 yi  inches;  width,  2^  inches. 

253  OLD-CLOTHES  SHOP.  No.  1.  (W.  209.)  At  the  left  of  an 

open  doorway,  before  which  a woman  is  seated,  is  a shop-window, 
in  front  of  which  many  garments  are  hanging  and  below  which 
are  wares  upon  a bench,  by  which  a boy  is  standing.  Adjoining 
the  open  doorway  is  a closed  doorway.  At  the  right  there  are 
bird-cages  on  a shelf,  and  an  assortment  of  articles  is  displayed 
below  the  shelf.  The  butterfly,  shaded,  is  on  the  upper  frame  of 
the  window. 

Etching.  Height,  2%  inches;  width,  4 inches. 

First  State:  There  is  comparatively  open  shading  in  the  door- 
way at  the  left. 

Mansfield  Collection. 

Second  State:  There  is  close  shading  in  the  doorway,  with 
dense  shadow  in  the  upper  part. 


whistler’s  etchings  and  dry-points 


254  OLD-CLOTHES  SHOP.  No.  2.  (Sup.  302.)  At  the  left  are 
two  adjoining  doorways,  one  wide  open,  approached  by  the  same 
steps,  down  the  middle  of  which  extends  a slight  hand-rail.  In 
the  open  doorway,  through  which  a woman  is  seen,  a man  is 
seated,  talking  with  a woman  standing  in  front  of  the  other  door- 
way. Against  the  shop-window  at  the  left,  in  front  of  which  gar- 
ments are  hanging,  is  propped  a pair  of  crutches.  At  the  right  is 
a large  window  above  a long  shelf,  on  which  is  a pot  of  flowers 
and  underneath  which,  about  a dark  passageway,  pictures  and 
frames  and  garments  are  hung.  On  the  pavement  below  are 
a chair  and  other  articles.  There  are  children  on  the  pavement, 
at  the  extreme  left.  The  butterfly,  shaded,  is  over  the  shelf, 
between  the  window  and  the  pot  of  flowers. 

Etching.  Height,  3 yA  inches;  width,  6y&  inches. 

First  State:  The  shading  underneath  the  shelf  is  compara- 
tively slight. 

Mansfield  Collection. 

Second  State:  Numerous  lines  are  added  in  the  shading 
underneath  the  shelf,  and  there  is  additional  shading  in  the 
passageway. 

255  GREENGROCER’S  SHOP.  (W.  210.)  At  the  right  of  a small 
open  doorway,  in  which  two  women  are  standing,  is  a large  shop- 
window  of  many  panes,  well  stocked,  in  front  of  which,  on  the 
pavement,  are  baskets  filled  with  greengrocer’s  wares.  The  but- 
terfly, shaded,  is  above  the  middle  of  the  plate,  at  the  right. 
Etching.  Height,  2^  inches;  width,  4 inches. 

First  State:  In  pure  etching.  There  is  a blank  space  about 
the  head  of  the  woman  standing  at  the  right. 

Mansfield  Collection. 

Second  State:  Dry-point  lines  fill  the  space  about  the  head 
of  the  woman  standing  at  the  right. 

Catalogued  by  Wedmore  as  “Fruit-Shop.” 

171 


whistler’s  etchings  and  dry-points 


256  ON  THE  EMBANKMENT.  (W.  21 1.)  In  the  foreground, 
at  the  extreme  right,  near  a railing  on  the  Thames  embankment 
at  Chelsea,  a man  is  standing,  and  very  near  him,  at  the  left,  a 
woman  and  two  girls  stand  grouped  together.  Farther  at  the  left, 
a girl  carrying  a child  in  her  arms  is  standing  near  a dog,  and 
still  farther  away  there  are  two  figures,  slightly  indicated.  Along 
the  opposite  bank  of  the  river  are  a number  of  steamboats,  and 
back  from  the  shore  are  sheds  with  tall  chimneys,  a church  with 
a tower,  and  a church  with  a spire — all  delicately  etched.  The 
butterfly,  in  outline,  is  between  the  group  and  the  girl. 

Etching.  Height,  \%  inches;  width,  534  inches. 

257  THE  MENPES  CHILDREN.  (W.  212.)  A young  girl  wear- 
ing a small  round  cap  is  seated  on  a chair,  and  beyond  her  stands 
a girl  wearing  a sunbonnet.  At  the  right  stands  a child  wearing 
a hat,  near  whom  a baby  is  seated  on  the  ground.  The  butter- 
fly, in  outline,  is  at  the  left  of  the  chair. 

Etching.  Height,  23,4  inches;  width,  4 inches. 

Mr.  Wedmore  says  that  the  girl  standing  beyond  the  chair  is  not 
one  of  the  Menpes  family. 

This  etching  was  published,  after  Mr.  Whistler’s  death,  as  a fron- 
tispiece to  the  “ Edition  de  Luxe”  of  ‘‘Whistler  as  I Knew  Him,” 
by  Mortimer  Menpes  (London,  Adam  and  Charles  Black,  1904). 
One  of  the  two  proofs  printed  in  the  artist’s  lifetime  is  in  the 
Mansfield  Collection. 

258  THE  STEPS,  CHELSEA.  (W.  213.)  Steps  between  iron  rail- 
ings lead  to  an  open  doorway,  with  panelling  on  either  side,  at 
the  left  of  a large  shop-window.  A boy  is  standing  on  the  steps, 
and  at  the  foot  of  the  steps  a man  and  a woman  are  lingering. 
On  the  pavement  a man  and  a woman  are  at  the  left,  and  a wom- 
an carrying  a child  in  her  arms  is  at  the  right.  The  butterfly 
is  half  way  up  the  plate,  at  the  extreme  right. 

Etching.  Height,  2 inches;  width,  inches. 


172 


whistler’s  etchings  and  dry-points 

First  State:  The  shading  above  the  window  consists  of  a 
single  horizontal  line  crossed  by  short  parallel  diagonal  lines. 
The  butterfly  is  in  outline. 

Second  State:  A few  short  diagonal  lines  and  many  short 
vertical  lines  are  added  in  the  shading  above  the  window.  The 
butterfly  is  shaded. 

259  THE  FISH-SHOP:  BUSY  CHELSEA.  (W.  214.)  The  fish- 
shop,  near  the  center,  is  the  largest  of  a row  of  shops,  seen  across 
a street.  The  shop-front  and  a doorway  are  open  under  an  awn- 
ing. An  adjoining  doorway  evidently  leads  to  the  story  above, 
in  which  are  two  windows.  In  the  second  story  of  the  shop  at  the 
right  is  a large  window,  below  which  an  awning  overhangs  a shop- 
window  next  to  a closed  door.  Above  a shop-window  and  open 
doorway  at  the  left  of  the  fish-shop,  are  two  open  windows  with 
growing  plants.  Part  of  a shop-window,  below  an  open  window 
slightly  indicated,  is  seen  at  the  extreme  left.  There  are  men, 
women  and  children  in  the  central  shop  and  in  open  doorways, 
and  on  the  pavement.  The  butterfly,  shaded,  is  on  the  wall,  be- 
tween the  windows  farthest  at  the  left. 

Etching.  Height,  5X  inches;  width,  8X  inches. 

This  etching  was  made  in  1886  for  the  Royal  Society  of  British 
Artists,  of  which  Mr.  Whistler  was  then  the  President. 

First  State:  There  is  no  shading  upon  the  figure  of  the  man 
standing  within  the  central  shop. 

Mansfield  Collection. 

Second  State:  Fine  diagonal  lines  are  added  on  the  figure  of 
the  man  standing  within  the  central  shop. 

260  NASH’S  FRUIT-SHOP.  (W.  215.)  Under  an  awning  which 
stretches  across  the  open  front  of  a shop,  wares  are  displayed  on  a 
counter  at  the  right,  in  front  of  which  stands  a group  of  children. 
Beyond  the  counter  is  a woman,  looking  out,  and  by  a similar 


'73 


whistler’s  etchings  and  dry-points 

counter  at  the  left  two  children  are  standing,  one  of  whom  wears 
a hat.  Between  the  counters  is  a space  nearly  blank.  On  the 
awning:  “T.  A.  Nash.”  The  butterfly,  shaded,  is  on  the  awning, 
near  the  right  lower  corner. 

Etching.  Height,  6J/&  inches;  width,  4 % inches. 

First  State:  The  shading  at  the  right,  immediately  below 
the  awning,  is  chiefly  in  parallel  vertical  lines.  The  woman’s 
features  are  indistinct.  There  are  suggestions  of  work  in  the 
open  space. 

Second  State:  Diagonal  lines,  running  from  right  to  left,  are 
added  across  the  earlier  lines  in  the  shading  at  the  right,  im- 
mediately below  the  awning,  and  diagonal  lines  are  added  else- 
where in  the  shading.  Traces  of  work  in  the  open  space  have 
become  faint. 

Freer  Collection. 

Third  State:  Numerous  short  diagonal  lines,  all  running  from 
left  to  right,  are  now  added  in  the  shading  at  the  left,  above  the 
head  of  the  child  wearing  the  hat,  and  a few  longer  diagonal  lines, 
running  from  left  to  right,  are  added  at  the  left  of  the  woman’s 
head. 

Mansfield  Collection. 

Fourth  State:  Fine  dry-point  lines  are  added  throughout 
the  shading.  The  woman’s  features  are  well  defined.  Traces 
of  the  work  in  the  open  space  have  been  almost  completely 
burnished  out. 

Catalogued  by  Wedmore  as  “T.  A.  Nash.” 

261  WOODS’S  FRUIT-SHOP.  Warns  are  displayed  on  a draped 
counter  in  front  of  a large  window  at  the  left,  under  a striped 
awning  which  extends  across  the  shop-front.  Above  is  a sign 
reading:  “Fruit  & Potato — J.  H.  Woods — Salesman.”  A wo- 
man stands  at  the  right  of  the  counter,  and  in  the  background 
are  two  other  figures,  slightly  indicated.  On  the  pavement  at 


>74 


whistler's  etchings  and  dry-points 


the  right  are  two  children.  The  butterfly,  in  outline,  is  sug- 
gested in  the  central  lower  pane  of  the  window. 

Etching.  Height.  3 -U  inches;  width.  =:_  inches. 

First  State:  There  is  comparatively  slight  shading  in  the 
background  beyond  where  the  woman  is  standing. 

Second  State:  Numerous  tine  dry-point  lines  are  added  in  the 
background  beyond  the  woman. 

Mansfield  Collection. 

262  FURNITURE -SHOP.  W.  216.  On  the  pavement,  under  an 

awning  at  the  right,  are  a bureau,  table  and  chair,  with  other 
furniture,  and  hung  below  an  awning  at  the  left  are  numerous 
articles.  The  butterfly,  shaded,  is  in  the  space  between  the 

two  awnings. 

Etching.  Height,  3-O  inches : width,  o-;s  inches. 

263  SAVOY  SCAFFOFDING.  (W.  21-.  A sketch  of  scaffolding 
used  in  the  erection  of  the  Savoy  Theatre.  London.  Near  a loaded 
wheelbarrow  in  the  foreground  are  upright-pieces  and  cross-notes 
bound  together,  in  front  of  a high  barrier,  above  which  rise  three 
stages  of  scaffolding.  Two  pulleys  are  attached  to  the  top  stage 
which  is  reached  by  a long  ladder.  On  a stage  even,  with  the  top 
of  the  barrier,  three  figures  are  standing  and  a fourth  figure  :s 
seated.  The  butterfly,  in  outline,  is  on  the  barrier,  near  the 
left  edge  of  the  plate. 

Etching.  Height,  7 inches:  width.  3N  inches. 

264  THE  RAILWAY-ARCH.  (W.  21S.  Beyond  an  open  space, 
in  which  stands  an  obelisk  supporting  two  lanterns,  is  a broad 
dark  archway  with  flat  top.  entering  a long  low  building.  Pro- 
jecting from  the  building,  at  the  left,  is  a large  crane.  There 
are  people  in  the  archway  and  in  the  open  space.  The  butterfly 
in  outline,  is  below  the  middle  of  the  plate,  near  the  left  edge. 
Etching.  Height,  2-0  inches:  width.  6;s  inches. 

i75 


whistler’s  etchings  and  dry-points 

First  State:  A lantern  within  the  archway  is  merely  sug- 
gested. On  the  cornice  above  the  archway  is  a round  orna- 
ment in  a clear  space. 

Freer  and  Mansfield  Collections. 

Second  State:  Additional  work  in  the  archway  throws  the 
interior  into  deeper  shadow  and  makes  the  people  and  the  lan- 
tern more  distinct.  Lines  are  added  on  the  cornice  and  fill 
the  space  around  the  ornament. 

Freer  and  Lathrop  Collections.  On  the  impression  in  the 
Lathrop  Collection  Whistler  wrote:  “The  Railway  Arch.” 


265  ROCHESTER  ROW.  (W.  219.)  On  the  bend  of  a street  is  a 
row  of  buildings  with  three  shop-fronts,  the  two  at  the  left  hav- 
ing awnings.  On  the  wall  above:  “Daily  Telegraph,”  at  the  left 
of  a long  window.  Over  the  shop  at  the  right  is  a similar  win- 
dow. In  the  street  are  two  market-carts,  and  beyond  them  are 
two  lamp-posts.  In  the  distance  appears  the  top  of  a church 
tower  surmounted  by  a flagpole.  There  are  people  in  the  door- 
ways of  the  shops,  and  on  the  pavement  at  the  right  are  two 
children.  The  butterfly  is  below  the  church  tower. 

Etching.  Height,  5!%  inches;  width,  8?4  inches. 

First  State:  The  two  lower  panes  of  the  window  above  the 
central  shop,  and  all  the  panes  of  the  window  above  the  shop 
at  the  right,  are  unshaded.  The  butterfly  is  in  outline. 
Mansfield  Collection. 

Second  State:  Diagonal  lines  in  dry-point  are  added  in  a 
series  extending  from  a child  who  stands  near  the  market- 
carts  to  a railing  at  the  right.  A few  similar  lines  are  added 
above  the  child’s  head.  The  butterfly  remains  in  outline. 

Third  State:  The  lower  panes  of  the  long  windows  above 
the  central  shop  and  the  shop  at  the  right  are  shaded,  and  there 
is  additional  shading  in  the  doorway  of  the  central  shop.  The 
butterfly  is  shaded. 


176 


whistler’s  etchings  and  dry-points 


266  YORK  STREET,  WESTMINSTER.  (W.  220.)  A passageway 
guarded  by  a post  leads  through  a building,  and  between  two 
shops,  from  a street  to  a court.  The  shop  at  the  left  has  a large 
show-window,  next  an  open  doorway  adjoining  a closed  door. 
The  other  shop  has  a window  with  large  panes,  at  the  left  of 
doors  slightly  indicated.  Upon  the  shop  at  the  left  is  the  sign: 
“G.  Fisher.  Fancy.  73,”  and  upon  the  shop  at  the  right  is  “74.” 
A woman  is  within  the  open  doorway  of  the  shop  at  the  left, 
and  another  is  leaning  out  of  a window  above  the  passageway. 
A woman  and  child  are  looking  into  the  shop-window  at  the  right; 
a woman  is  standing  before  the  other  window,  and  a boy  and 
small  child  are  on  the  pavement  in  front.  The  butterfly,  in  out- 
line, is  near  the  top  of  the  plate,  above  the  sign. 

Etching.  Height,  5 inches;  width,  8X  inches. 

267  RAG-SHOP,  MILMAN’S  ROW.  (Sup.  291.)  Steps  at  the  cen- 
ter lead  to  two  adjoining  doorways,  the  one  at  the  right  closed 
and  the  other  open.  At  the  left  is  a large  shop-window,  in  front 
of  which  drapery  and  garments  are  hung;  garments  are  also  hung 
between  the  doorways.  Above  a bureau  in  the  open  doorway 
a face  peers  out  at  three  children  seated  on  the  steps.  At  the 
right,  a window  is  indicated  above  a shelf,  below  which,  near  a 
closed  doorway,  is  a round  table  with  top  upturned.  Farther 
at  the  right  a child  is  standing  on  the  pavement.  The  butter- 
fly, in  outline,  is  above  the  shelf,  between  the  doorway  and  the 
window. 

Etching.  Height,  5^  inches;  width,  8 inches. 

268  THE  BARBER’S  SHOP.  (W.  229.)  On  each  side  of  a dark 
passageway  is  a shop-front  with  a show-window  and  an  open  door; 
at  the  extreme  left  is  a third  shop-front,  with  a show-window  and 
a closed  door.  At  the  edge  of  the  pavement  there  is  a lamp-post. 
A man  stands  in  the  doorway  of  the  shop  at  the  right;  there  is  a 
group  of  people  in  the  passageway,  and  two  children  are  standing 


•77 


whistler’s  etchings  and  dry-points 


on  the  pavement,  at  the  extreme  left.  On  the  window-panes  of 
the  far  shop  at  the  left : “ Hair  Cutting  and  Shaving,”  and  below: 
‘‘Fred  Carles,”  and  on  the  shop-door:  ‘‘Cut  3 ” and  “ HairCut  2.” 
The  butterfly,  shaded,  is  above  the  middle  of  the  plate,  near 
the  right  edge. 

Etching.  Height,  6y2  inches;  width,  9 inches. 

269  THE  SHAVING-AND-SHAMPOOING  SHOP.  (Sup.  294.)  At 
the  left  of  a narrow  passageway  is  a shop  with  a show-window 
and  an  open  door,  over  which  hang  two  bird-cages.  Above  is 
the  sign:  “Shaving  and  Shampooing.”  A woman  is  standing 
within  the  doorway;  three  young  women  are  leaning  against  the 
shop-window,  and  a boy  is  standing  upon  the  pavement.  The 
butterfly,  in  outline,  is  above  the  middle  of  the  plate,  near  the 
left  edge. 

Etching.  Height,  6^6  inches;  width,  5 inches. 

270  JUSTICE  WALK,  CHELSEA.  (Sup.  296.)  Behind  iron  rail- 
ings are  two  houses  with  adjoining  open  doorways,  between  two 
windows  on  either  side.  At  the  right  is  a third  open  doorway. 
In  one  of  the  central  doorways  a woman  stands  with  her  left  hand 
on  the  railing  and  her  right  hand  on  the  door-jamb.  In  front 
of  her  are  three  children.  In  the  doorway  at  the  right  two  women 
are  standing.  On  the  pavement  at  the  left  is  a group  of  four 
children,  and  at  the  right  two  children  are  walking  away.  Near 
the  railing  at  the  extreme  left  are  slight  indications  of  two  figures. 
Between  the  two  windows  at  the  left  is  the  sign:  “C.  W.  Brett, 
Gardiner.”  The  butterfly,  shaded,  is  near  the  top  of  the  plate, 
above  the  last  window  at  the  left. 

Etching.  Height,  inches;  width,  9^  inches. 

First  State:  The  skirt  of  the  woman  in  the  central  doorway 
is  without  shading,  and  there  are  only  short  parallel  etched 
lines  in  the  background  below  her  right  arm. 

Benedict  and  Freer  Collections. 


.78 


whistler’s  etchings  and  dry-points 


Second  State:  Short  diagonal  dry-point  lines  are  added  on 
the  skirt  of  the  woman  in  the  central  doorway,  and  in  the 
background,  below  her  right  arm. 

Mansfield  Collection. 

271  BIRD-CAGES,  CHELSEA.  (Sup.  297.)  Numerous  bird-cages 
are  hung  on  the  front  of  a shop  with  an  open  doorway.  At  the 
right  is  a smaller  shop  with  an  open  doorway  and  with  a show- 
window,  above  which  is  the  sign:  “W.  Jones.”  Below  is  the 
word  “Amber.”  Three  women  stand  about  the  doorway  of  the 
shop  at  the  right,  and  two  children  near  the  shop-window.  On 
the  pavement,  at  the  right  a woman  is  trundling  a cart  in  which 
there  is  a baby,  and  at  the  left  a man  stands  with  his  face  turned 
away.  The  butterfly,  in  outline,  is  near  the  top  of  the  plate,  at 
the  left. 

Etching.  Height,  6 inches;  width,  9 inches. 

272  KING’S  ROAD,  CHELSEA.  In  front  a girl  is  wheeling  a child 
in  a baby-carriage  on  a pavement  that  is  bordered,  at  the  left,  by 
a wall  on  which  wares  are  displayed.  Beyond  is  a corner-shop 
from  which  two  lanterns  project.  Over  the  open  door  of  the 
shop  is  a sign  with  the  lettering:  “ Roebu[ck].”  A few  people  are 
standing  near  the  door  of  the  shop.  The  butterfly,  in  outline, 
is  near  the  right  edge,  three-quarters  of  an  inch  from  the  top. 
Etching.  Height,  4X  inches;  width,  iy2  inches. 

Freer  and  Mansfield  Collections. 

273  MERTON  VILLA,  CHELSEA.  (Sup.  298.)  The  front  of  a 
long  low  house  is  partly  seen  beyond  some  tall  slender  trees  and 
clumps  of  shrubbery.  A woman,  bending  forward  slightly,  stands 
near  the  shrubbery  at  the  right.  Near  the  left  lower  corner: 
“Merton  Villa,  Chelsea”  and  “to  Trix.”  The  butterfly,  in  out- 
line, is  above  the  middle  of  the  plate,  near  the  left  edge. 

Etching.  Height,  inches;  width,  8^  inches. 


* 79 


whistler’s  etchings  and  dry-points 

274  LITTLE  MAUNDER’S.  (Sup.  299.)  The  gabled  front  of  a 
house  with  an  attic  window,  two  windows  in  the  story  below,  and, 
under  an  awning,  a shop-window  and  a door  opening  upon  the 
pavement.  Down  a side  street  at  the  right  i$  a.  lamp-post.  On 
the  pavement  are  a woman  and  a child.  The  butterfly,  in  out- 
line, is  below  the  middle  of  the  plate,  near  the  left  edge. 

Etching.  Height,  3 X inches;  width,  2 inches. 

View  of  a house  at  Chelsea  in  which  was  Maunder’s  fish-shop, 
the  central  shop  in  the  etching  entitled  “The  Fish-Shop:  Busy 
Chelsea”  (249);  also  the  subject  of  a lithograph  by  Whistler. 
Freer  and  Mansfield  Collections. 


275  EXETER  STREET.  (Sup.  287.)  At  the  right  of  a shop  with 
a bay  window  and  narrow  doorway,  is  a large  shop  with  open 
front,  before  which  are  fruit-stands  under  an  awning.  On  the 
pavement  are  two  girls  and  near  them  is  a child,  and  there  is  a 
child,  slightly  indicated,  at  the  extreme  right.  The  butterfly, 
in  outline,  is  on  the  lowest  central  pane  of  the  bay  window. 
Etching.  Height,  5 inches;  width,  6}i  inches. 


276  BIRD-CAGES,  DRURY  LANE.  (Sup.  289.)  A woman  with 
a child  in  her  arms  is  standing  in  front  of  a passageway  that 
leads  through  a building  on  which  bird-cages  are  hung.  The 
butterfly,  in  outline,  is  on  the  wall  at  the  left  of  the  passageway. 
Etching.  Height,  y/A  inches;  width,  3%  inches. 


277  RAG-SHOP,  ST.  MARTIN’S  LANE.  Two  shops  with  show- 
windows  are  sketchily  indicated.  The  word  “Rag”  is  on  a 
central  pane  of  the  window  at  the  right.  Two  women  are  stand- 
ing on  the  pavement  at  the  left,  and  at  the  right  are  a woman 
and  five  children.  The  butterfly,  partly  shaded,  is  at  the  left. 
Etching.  Height,  y/l  inches;  width,  73^  inches. 

Mansfield  Collection. 


180 


whistler’s  etchings  and  dry-points 


278  WIMPOLE  STREET.  In  front  of  a building  entered  through 
a passageway  supported  by  columns,  stands  a hansom  cab,  near 
which  a woman,  holding  up  an  open  umbrella,  is  walking.  The 
butterfly,  in  outline,  is  above  the  middle  of  the  plate,  near  the 
left  edge. 

Etching.  Height,  3 J/&  inches;  width,  2^  inches. 

Mansfield  Collection. 

279  GATES,  CITY,  LONDON.  Between  massive  gate-posts  there 
are  closed  gates  of  ornamental  ironwork,  for  roadway  and  foot- 
ways. An  equestrian  figure  is  on  the  post  at  the  left.  In  front, 
at  the  right,  a boy  is  approaching  the  gates,  and  near  the  center 
is  a child  wearing  a large  sunbonnet.  The  butterfly,  in  outline, 
is  below  the  middle  of  the  plate,  near  the  left  edge. 

Etching.  Height,  5%  inches;  width,  3%  inches. 

Caldwell  Collection. 

280  MARBLES.  (Sup.  312.)  Three  boys,  two  of  them  kneeling 
and  one  standing  between  the  two,  are  playing  marbles  on  the 
roadway  in  front  of  a small  shop.  A boy  is  seated  on  the  step 
of  the  open  door  of  the  shop,  and  a man  is  partly  visible  within. 
A child  is  standing  in  front  of  the  shop-window,  and  a woman 
stands  at  the  extreme  right.  The  letters  “ Batey  ” appear  on  the 
wall,  at  the  left.  The  butterfly  is  on  the  wall,  at  the  right  of  the 
window. 

Etching.  Height,  5 inches;  width,  3^  inches. 

First  State:  The  features  of  the  boy  kneeling  at  the  right 
are  not  expressed.  There  is  a clear  space  at  the  right  of  the 
woman,  and  no  shading  about  the  seated  boy.  The  butterfly 
is  in  outline. 

Mansfield  Collection.  On  the  impression  in  this  collection 
Whistler  wrote:  “ 1st  proof” 

Second  State:  The  butterfly  is  shaded. 

181 


whistler’s  etchings  and  dry-points 

Third  State:  The  features  of  the  boy  kneeling  at  the  right 
are  expressed.  There  is  strong  shading  at  the  right  of  the 
woman  and  about  the  seated  boy,  and  additional  shading  on 
the  wall  and  in  the  upper  part  of  the  doorway. 

281  PETTICOAT  LANE.  (W.  230.)  On  the  pavement,  in  front 
of  a window  at  the  left  of  an  open  doorway,  a woman  is  standing 
with  her  face  turned  to  the  right.  Nearer  the  window  stands  a 
young  boy,  and  nearer  the  edge  of  the  pavement  a small  girl  is 
seated.  The  butterfly,  in  outline,  is  above  the  middle  of  the 
plate,  at  the  left  of  the  woman. 

Etching.  Height,  3^  inches;  width,  5^  inches. 

First  State:  The  shading  in  the  lower  part  of  the  doorway  is 
chiefly  in  parallel  vertical  lines. 

Benedict  and  Lathrop  Collections. 

Second  State:  Diagonal  lines  are  added  extensively  through- 
out the  shading  of  the  doorway. 

282  CLOTHES-EXCHANC.E,  HOUNDSDITCH.  No.  1.  (W.231.) 
A large  warehouse,  the  lower  part  of  which  is  open,  stands  at  the 
end  of  a broad  street  lined  by  tall  buildings.  The  warehouse  has 
a low  roof  with  skylights  at  the  right,  and  a high  wall  with  a large 
window,  partly  boarded  up,  at  the  left.  Upon  the  boarding  there 
is  the  sign:  “Philip  & Co.,  Packers.”  On  the  pavement  at  the 
right  is  a woman  with  a broom,  and  on  the  pavement  at  the  left 
two  women  are  carrying  children.  Beyond  are  numerous  figures. 
In  the  roadway,  near  the  front,  are  some  dogs,  slightly  indicated. 
The  butterfly,  in  outline,  is  at  the  left,  below  the  middle  of  the 
plate. 

Etching.  Height,  6 % inches;  width,  9X  inches. 

First  State:  The  open  space  is  in  luminous  shadow,  and  the 
figures  within  it  are  only  slightly  expressed. 

Mansfield  Collection.  On  the  impression  in  this  collection 

182 


whistler’s  etchings  and  dry-points 

Whistler  wrote:  “Clothes  Exchange,  Houndsditch.  No.  i. 
ist  State.” 

Second  State:  The  figures  within  the  open  space  are  now 
well  defined  against  a background  of  deep  shadow.  Lines  are 
added  on  the  large  window  and  on  the  wall  above  the  low  roof. 

Catalogued  by  Wedmore  as  “ Old  Clothes  Exchange.” 


283  CLOTHES-EXCHANGE,  HOUNDSDITCH.  No.  2.  (Sup.  292.) 
In  a spacious  interior  with  panelling  at  the  end,  apparently  of 
glass,  are  two  slender  columns,  with  three  round  arches,  sup- 
porting horizontal  framework.  On  every  side  garments  are  dis- 
played which  many  people  are  inspecting.  At  the  center,  near 
the  front,  a boy  stands  with  his  left  hand  in  his  pocket,  and  at  the 
right  three  women  are  seated  and  a young  woman  is  standing. 
The  butterfly,  in  outline,  is  below  the  middle  of  the  plate,  near 
the  left  edge. 

Etching.  Height,  8 % inches;  width,  5^8  inches. 

First  State:  The  panels  immediately  below  the  horizontal 
framework  are  unshaded.  The  features  of  the  boy  in  front 
are  scarcely  expressed. 

Freer  and  Wrenn  Collections.  On  the  impression  in  the  Freer 
Collection  Whistler  wrote:  “ ist  State.  Only  two  proofs,”  and 
on  the  impression  in  the  Wrenn  Collection  Whistler  wrote: 
“ ist  proof.” 

Second  State:  The  boy’s  features  are  somewhat  defined,  but 
there  is  almost  no  difference  between  this  state  and  the  first. 
Mansfield  Collection. 

Third  State:  Fine  vertical  lines  are  added  along  the  upper 
row  of  panels,  immediately  below  the  horizontal  framework, 
and  vertical  and  diagonal  lines  are  added  on  the  framework. 
Lathrop  Collection. 

Catalogued  in  the  Supplement  as  “Clothes  Exchange  No.  1.” 

.83 


whistler’s  etchings  and  dry-points 


284  ST.  JAMES’S  PLACE,  HOUNDSDITCH.  (W.  232.)  At  the 
right  is  the  open  front  of  a shop  with  the  sign : “ M.  and  E.  Levy.” 
Adjoining  is  a corner-shop  with  open  front,  under  an  awning. 
Across  the  street  are  shops  slightly  indicated.  Many  people, 
rapidly  sketched,  are  in  the  shops  and  on  the  pavements,  and  in 
the  roadway  is  a girl  carrying  a child.  The  butterfly,  in  outline, 
is  near  the  top  of  the  plate,  above  the  awning. 

Etching.  Height,  y/%  inches;  width,  6%  inches. 

285  NUT-SHOP,  ST.  JAMES’S  PLACE.  (Sup.  301.)  At  the  right 
is  a shop  with  open  front,  before  which  wares  are  displayed  under 
an  awning.  Adjoining  is  a shop  with  open  doorway  and  open 
front,  before  which,  on  boards  laid  on  two  sets  of  trestles,  are 
baskets,  above  which  the  faces  of  three  children  appear.  On  the 
pavement  in  front  of  the  shop  at  the  right,  a man  is  standing, 
near  whom,  slightly  indicated,  are  a man  and  a woman.  At  the 
left  are  three  children.  Near  them  is  a cat  and  in  the  roadway 
is  another  cat.  The  butterfly,  in  outline,  is  below  the  middle  of 
the  plate,  near  the  left  edge. 

Etching.  Height,  5 inches;  width,  inches. 

First  State:  There  are  some  white  spaces  in  the  shading  of 
the  middle  opening  in  the  shop-front  at  the  right. 

Mansfield  Collection. 

Second  State:  The  middle  opening  in  the  shop-front  at  the 
right  is  closely  shaded,  and  there  is  additional  shading  in  the 
interiors  of  both  shops. 

Lathrop  Collection. 

286  FLEUR  DE  LYS  PASSAGE.  (W.  233.)  An  alley,  bounded  by 
buildings  on  which  garments  are  hung,  leads  through  a shadowy 
passage  to  a court,  across  which,  in  a round  arch,  is  a large  win- 
dow, back  of  an  iron  railing.  A lantern  projects  at  the  left 
of  the  entrance  to  the  passage,  above  which  is  the  sign:  “En- 
trance to  the  Exhibition.  Clothes  Exchange.”  In  front  there  are 

184 


whistler’s  etchings  and  dry-points 

two  women,  one  of  them  carrying  a child,  and  near  them  is  a 
dog.  Beyond,  along  both  sides  of  the  alley  and  about  the  en- 
trance to  the  passage,  are  numerous  figures.  The  butterfly,  in 
outline,  is  at  the  left  of  the  passage. 

Etching.  Height,  7 inches;  width,  3X  inches. 

First  State:  The  space  enclosed  by  the  round  arch  is  un- 
shaded. 

Buckingham  and  Mansfield  Collections. 

Second  State:  There  are  patches  of  strong  shading  above  the 
round  arch  and  within  the  passage. 

Third  State:  There  is  shading  on  the  lower  part  of  the  space 
enclosed  by  the  iron  railing,  and  there  is  additional  shading 
above  the  round  arch  and  within  the  passage. 

287  CUTLER  STREET,  HOUNDSDITCH.  (W.  234.)  On  a street- 
corner  at  the  left  is  a shop  with  open  doorway,  about  which  gar- 
ments are  hung  and  over  which  is  the  sign:  “B.  Abrahams.” 
From  the  corner  of  the  shop  a large  lantern  projects  over  the 
street.  Across  the  street  is  a row  of  buildings,  with  garments 
hung  before  some  of  them.  Within  the  doorway  of  the  shop  a 
woman  is  seated,  and  a woman  and  a man  carrying  a child  are 
standing  near  the  doorway.  A young  girl  stands  in  the  fore- 
ground at  the  right,  and  other  figures  are  seen  in  the  street  be- 
yond. The  butterfly,  in  outline,  is  below  the  middle  of  the 
plate,  near  the  right  edge. 

Etching.  Height,  6%  inches;  width,  4 inches. 

First  State:  There  is  comparatively  open  shading  in  the 
doorway. 

Freer  and  Parker  Collections.  On  the  impression  in  the  Freer 
collection  Whistler  wrote:  “Cutler  Street,  Houndsditch,  1st 
State.” 

Second  State:  The  doorway  is  heavily  shaded. 

Mansfield  Collection. 


185 


whistler’s  etchings  and  dry-points 

288  MELON-SHOP,  HOUNDSDITCH.  (Sup.  281.)  A woman  of 
middle  age  and  a young  woman  are  seated  at  the  left,  in  front 
of  a shop  with  two  large  open  windows,  at  the  right  of  which  is 
a narrow  open  doorway.  Within  the  shop  two  young  women 
are  seated  at  the  right  of  an  elderly  man,  looking  out.  Farther 
within  the  shop  are  melons  and  boxes,  and  within  the  doorway  is 
an  open  ice-box.  The  butterfly  is  above  the  middle  of  the  plate, 
at  the  left  of  the  windows. 

Etching.  Height,  5 inches;  width,  7 inches. 

First  State:  The  interior  of  the  shop  and  the  interior  of  the 
doorway  are  in  transparent  shadow,  and  the  boxes  are  almost 
without  shading.  The  butterfly  is  in  outline. 

Mansfield  Collection. 

Second  State:  The  features  of  the  woman  at  the  right,  within 
the  shop,  have  been  erased.  The  features  of  the  three  other 
women  have  been  entirely  changed,  and  their  figures  have  been 
partly  redrawn.  Through  extensive  work  in  dry-point  the 
interior  of  the  shop  and  the  interior  of  the  doorway  are  in  deep 
shadow,  and  the  boxes  are  shaded.  The  butterfly  is  shaded. 

289  AFTER  THE  SALE,  HOUNDSDITCH.  (Sup.  282.)  Seen 
through  a large  open  doorway,  disclosing  an  empty  stall,  is  a 
woman  standing  with  arms  akimbo,  and  a woman  seated,  with  a 
boy  by  her  side.  Outside,  at  the  right,  is  another  woman,  resting. 
The  butterfly,  in  outline,  is  above  the  middle  of  the  plate,  near 
the  left  edge. 

Etching.  Height,  4T6  inches;  width,  6 ]/%  inches. 

290  STEPS,  GRAY’S  INN.  (Sup.  283.)  A flight  of  steps  at  the  left 
leads  to  a terrace,  along  the  top  of  which  plants  are  growing.  At 
the  foot  of  the  steps  is  a slender  tree  and  near  the  extreme  right 
is  a similar  tree.  Women  and  children,  in  a group,  are  seated  on 
the  ground  in  front.  Two  boys  are  playing  ball  beyond  them, 

186 


whistler’s  etchings  and  dry-points 

and  there  are  children  on  the  steps.  The  butterfly,  in  outline,  is 
on  the  terrace,  at  the  right  of  the  steps. 

Etching.  Height,  2 inches;  width,  6%  inches. 

291  THE  YOUNG  TREE,  GRAY’S  INN.  (Sup.  284.)  At  the 
right,  in  an  open  space  bounded  by  iron  palings,  is  a slender  tree 
supported  by  a stake,  near  which  two  children  are  seated  on  the 
ground.  Beyond,  two  house-fronts  are  seen.  The  butterfly,  in 
outline,  is  below  the  middle  of  the  plate,  at  the  right  of  the  tree. 
Etching.  Height,  5X  inches;  width,  3^  inches. 

Catalogued  in  the  Supplement  as  “Gray’s  Inn  Babies.” 

292  GRAY’S  INN  PLACE.  (Sup.  285.)  Behind  palings,  at  the 
end  of  an  enclosed  court,  stands  a house  showing  four  windows 
at  the  left  and  one  window  at  the  right,  below  which  the  sign: 
“Gray’s  Inn  Place”  appears  above  a wide  passageway.  Through 
the  passageway  a building  is  seen  on  the  far  corner  of  a square. 
Standing  in  front,  at  the  right,  are  a boy  and  a girl  with  a child  in 
her  arms.  Two  figures  are  seen  across  the  square.  The  butterfly, 
in  outline,  is  above  the  middle  of  the  plate,  near  the  left  edge. 
Etching.  Height,  5 inches;  width,  7 inches. 

First  State:  There  is  a white  triangular  space  in  the  pave- 
ment of  the  passageway. 

Mansfield  Collection. 

Second  State:  The  triangular  space  in  the  pavement  of  the 
passageway  is  filled  with  dry-point  lines. 

293  SEATS,  GRAY’S  INN.  (Sup.  286.)  In  front,  at  the  right,  a girl 
is  seated  on  a large  garden-seat.  Near  her  stands  a girl  holding 
a child.  On  a similar  seat,  farther  off  at  the  left,  other  figures 
are  seated.  Four  windows  are  slightly  indicated  in  the  distance. 
The  butterfly,  in  outline,  is  near  the  right  edge  of  the  plate. 
Etching.  Height,  y/%  inches;  width,  7 inches. 

187 


whistler’s  etchings  and  dry-points 

294  DOORWAY,  GRAY’S  INN.  In  a large  building  with  numer- 
ous windows,  seen  across  a lawn,  is  an  ornamented  doorway, 
through  which  steps  lead  to  a door  with  a fanlight  above.  At 
the  left  of  the  doorway  the  stem  of  a slender  tree  is  seen,  and  at 
the  right,  near  a path  in  front  of  the  lawn,  the  stem  of  a large  tree. 
Two  women  are  seated  on  a bench  at  the  left,  and  a small  girl, 
with  her  back  turned,  is  standing  near  them  on  the  path.  Two 
children  are  seated  on  the  lawn,  upon  which  there  is  a large  round 
ball.  The  butterfly,  in  outline,  is  above  the  middle  of  the  plate, 
near  the  left  edge. 

Etching.  Height,  3%”  inches;  width,  5%  inches. 

Caldwell,  Freer,  and  Mansfield  Collections. 

295  BABIES,  GRAY’S  INN.  Standing  in  front  is  a small  girl,  and 
seated  on  the  ground  at  the  left  are  three  small  girls,  all  wearing 
sunbonnets.  Across  an  open  space  there  is  the  stem  of  a tree, 
and  in  the  background  is  a building  showing  four  long  windows. 
The  butterfly,  in  outline,  is  below  the  middle  of  the  plate,  near 
the  right  edge. 

Etching.  Height,  3^  inches;  width,  2%,  inches. 

Freer  and  Mansfield  Collections. 

296  CHILDREN,  GRAY’S  INN.  In  front,  on  the  grass  of  a small 
park,  there  are  ten  children.  Five  are  standing;  three  of  these 
are  girls,  and  two  are  boys,  one  with  his  left  hand  in  his  pocket 
and  one  with  a hoop.  A boy  and  a girl  and  three  small  children 
are  seated.  On  a bench  by  a tree  near  a path  beyond,  a woman 
and  two  children  are  seated.  Across  the  path,  where  there  are 
numerous  trees  and  the  park  extends  to  a large  building  with 
windows,  two  small  children  are  seen.  The  butterfly,  in  outline, 
is  at  the  right,  toward  the  bottom  of  the  plate. 

Etching.  Height,  6%  inches;  width,  5 inches. 

Mansfield  Collection. 

The  Gray’s  Inn  etchings  appear  to  have  been  done  in  1887. 

188 


whistler’s  etchings  and  dry-points 


297  THE  LITTLE  NURSEMAID.  (Sup.  307.)  A tall  slender  young 
girl  wearing  a broad-brimmed  hat  stands  at  the  left  of  two  chil- 
dren, one  facing  front,  the  other  turning  away.  The  butterfly, 
in  outline,  is  below  the  middle  of  the  plate,  near  the  left  edge. 
Etching.  Height,  inches;  width,  3V*  inches. 

298  CHURCH  DOORWAY,  EDGEMERE.  (Sup.  270.)  Below  a 
window  with  many  panes  is  an  arched  doorway  with  closed  fold- 
ing doors.  Upon  the  door  at  the  right  notices  are  posted.  The 
butterfly,  in  outline,  is  above  the  middle  of  the  plate,  near  the  left 
edge. 

Etching.  Height,  3 ]/%  inches;  width,  2 inches. 

299  THE  COCK  AND  THE  PUMP.  (W.  235.)  Within  a large 
square  bounded  by  an  iron  railing  four  girls  are  standing  in  a 
group,  at  the  left  of  a strutting  cock.  Outside  the  square,  in  a 
village  street,  is  a tall  pump  with  a projecting  handle,  near  a 
trough  about  which  are  a number  of  children.  Across  the  street, 
on  a corner  at  the  right,  is  a house  with  a steep  roof  and  over- 
hanging second  story.  In  a similar  building  on  the  corner  at  the 
left  is  a shop.  Buildings  extend  along  a side  street  which  van- 
ishes in  the  distance.  The  butterfly,  in  outline,  is  above  the 
tail  of  the  cock. 

Etching.  Height,  8*4  inches;  width,  5 % inches. 

Mr.  Wedmore  says  that  the  square  is  the  Market-place,  Sandwich. 

300  SALVATION  ARMY,  SANDWICH.  (W.  236.)  Seen  across  a 
square,  is  a row  of  five  houses,  the  three  at  the  right  showing 
gable  ends.  In  front  of  these,  people  are  gathered  where  a flag 
is  displayed.  The  butterfly,  in  outline,  is  near  the  bottom  of 
the  plate,  at  the  right. 

Etching.  Height,  3H5  inches;  width,  6%  inches. 

On  the  impression  in  the  Mansfield  collection  Whistler  wrote: 
“Salvation  Army,  Sandwich.” 

189 


whistler’s  etchings  and  dry-points 


301  DOUBLE  DOORWAY,  SANDWICH.  (Sup.  271.)  Under  a 
pediment  are  two  adjoining  doors.  The  one  at  the  left  is  closed; 
the  other  is  open,  disclosing  a passageway,  at  the  farther  end  of 
which  is  a window  with  four  panes.  At  the  right  is  a shop  with 
narrow  open  doorway  and  large  show-window.  In  front  of  the 
shop-window  there  is  a group  of  three  children.  The  butterfly,  in 
outline,  is  below  the  middle  of  the  plate,  near  the  left  edge. 
Etching.  Height,  2^  inches;  width,  4X  inches. 

First  State:  The  shading  in  the  open  doorways  is  slight,  and 
the  closed  door  is  nearly  a blank  space. 

Freer  and  Lathrop  Collections. 

Second  State:  The  open  doorways  are  heavily  shaded,  and  a 
barrel  is  defined  within  the  doorway  of  the  shop.  Panels  of 
the  closed  door  are  indicated,  and  there  is  additional  shading  on 
some  of  the  panes  of  the  shop-window. 

302  DOORWAY,  SANDWICH.  (Sup.  272.)  Near  the  center  is  a 
doorway  with  pillars  and  a pediment.  At  the  right  is  a large 
bow  window.  At  the  left  is  a large  window  with  curved  arch. 
A girl  with  a child  in  her  arms  is  standing  in  front  of  this  win- 
dow. The  butterfly  is  on  the  window  at  the  right,  near  the  edge 
of  the  plate. 

Etching.  Height,  3%"  inches;  width,  5 X inches. 

First  State:  The  upper  panel  of  the  door  is  slightly  shaded, 
and  the  central  cross-piece  has  no  shading.  The  butterfly  is 
in  outline. 

Freer,  Lathrop,  and  Mansfield  Collections. 

Second  State:  The  upper  panel  is  covered  with  lines,  and 
diagonal  lines  shade  the  cross-piece.  The  butterfly  is  shaded. 

303  BUTCHER’S  SHOP,  SANDWICH.  (Sup.  273.)  In  a shop  on 
a corner,  at  the  left  of  a doorway,  is  a wide  window.  Within 

190 


whistler’s  etchings  and  dry-points 

are  seen  a man  seated  and  a woman  bending  over.  Outside, 
between  the  window  and  doorway,  stands  a woman  with  a child 
in  her  arms,  and  down  the  street,  at  the  right,  a girl  and  child 
are  walking  away.  The  butterfly,  shaded,  is  on  the  wall  between 
the  wide  window  and  the  doorway. 

Etching.  Height,  2^i  inches;  width,  3 >6  inches. 

304  RAMPARTS,  SANDWICH.  (Sup.  274.)  On  the  slope  of  an 
embankment,  below  a bushy  tree  with  full  foliage,  four  children 
are  seated  at  the  left  and  a woman  and  child  at  the  right.  Walk- 
ing on  the  top  of  the  embankment  are  two  women,  one  under  a 
parasol,  the  other  leading  a child.  At  the  extreme  right  there  is  a 
windmill.  There  are  two  low  trees  near  the  windmill,  and  there  is 
a small  tree  at  the  extreme  left.  The  butterfly,  in  outline,  is  near 
the  right  lower  corner. 

Etching.  Height,  4%  inches;  width,  inches. 

305  BATTERSEA  BRIDGE.  No.  3.  (Sup.  279.)  Stretching  across 
the  Thames,  under  a cloudy  sky,  is  a timbered  bridge,  above 
which  are  derricks  and  in  front  of  which  is  a river  steamboat. 
In  the  remote  distance  there  are  slight  indications  of  buildings. 
Stranded  near  the  left  lower  corner  is  a rowboat,  about  which 
several  figures  are  standing.  The  butterfly,  in  outline,  is  below 
the  middle  of  the  plate,  near  the  right  edge. 

Etching.  Height,  5 inches;  width,  inches. 

306  CHARING  CROSS  RAILWAY-BRIDGE.  (Sup.  293.)  A slight 
sketch  of  the  Charing  Cross  railway-bridge,  taken  from  a terrace 
overlooking  the  Thames  Embankment.  On  the  river  bank,  at  the 
right,  is  a steamboat-landing.  On  the  embankment,  at  the  left, 
is  a slender  tree,  near  a statue.  The  butterfly,  in  outline,  is 
below  the  middle  of  the  plate,  at  the  left  of  the  tree. 

Etching.  Height,  5 y&  inches;  width,  3 % inches. 

191 


whistler’s  etchings  and  dry-points 

307  AN  EAGLE.  (Sup.  369.)  An  eagle,  looking  to  the  right,  is 
perched  on  the  limb  of  a tree.  The  butterfly,  in  outline,  is  half 
way  up  the  plate,  at  the  left  edge. 

Etching.  Height,  2X  inches;  width,  if£  inches. 

Freer  and  Mansfield  Collections. 

308  WILD  WEST.  (W.  228.)  A sketch  of  the  ‘Wild  West’  arena 
in  London.  In  a curved  open  space,  a man  is  standing  on  a 
platform  at  the  left  and  a man  is  standing  by  a barrier  at  the 
right,  and  near  the  center  are  men  and  horses.  Beyond  is  a 
shed,  in  which  there  are  many  people,  slightly  indicated.  The 
butterfly,  in  outline,  is  below  the  platform. 

Etching.  Height,  3%  inches;  width,  7X  inches. 

This  etching  and  the  two  etchings  next  described  were  made  in 
1887,  in  London,  at  exhibitions  of  the  American  ‘Wild  West’  Show. 

309  THE  BUCKING  HORSE.  (Sup.  290.)  At  the  left,  in  the 
‘Wild  West’  arena,  is  a bucking  horse  with  its  rider.  Standing 
near  them  is  a group  of  figures,  and  there  are  scattered  figures 
standing  in  other  parts  of  the  arena.  In  the  background  are  a 
number  of  horses.  Two  spectators  are  seated  by  a railing  at  the 
right,  and  across  the  arena,  at  the  left,  is  the  grand  stand.  The 
butterfly,  in  outline,  is  below  the  bucking  horse. 

Etching.  Height,  3%  inches;  width,  7X  inches. 

310  THE  ORATOR.  At  the  right,  in  the  ‘Wild  West’  arena,  is  the 
orator,  aloft  on  his  platform;  at  the  left  are  two  rough-riders, 
standing  near  a horse,  and  in  the  background  are  several  mounted 
horsemen.  In  front,  at  the  left,  a woman  and  a young  girl  are 
looking  on.  Bordering  the  arena,  at  the  left,  is  the  grand  stand, 
beyond  which  rises  a tall  ladder.  The  butterfly,  in  outline,  is  at 
the  right,  an  inch  and  a quarter  from  the  bottom  of  the  plate. 
Etching.  Height,  4%  inches;  width,  7 inches. 

Mansfield  Collection. 

192 


whistler’s  etchings  and  dry-points 


31  i PORTSMOUTH  CHILDREN.  (Sup.  275.)  In  the  foreground 
and  at  the  right,  children  are  playing  on  a beach,  upon  which 
boats  with  raised  sails  lie  stranded.  In  the  distance,  across  a 
sheet  of  water,  are  numerous  boats  under  sail.  The  butterfly, 
in  outline,  is  in  the  right  lower  corner. 

Etching.  Height,  2^4  inches;  width,  374  inches. 

This  etching  and  the  eleven  etchings  next  catalogued  were  done 
July  27,  1887,  on  the  occasion  of  the  Naval  Review  in  honor  of 
Queen  Victoria’s  Jubilee. 

312  TILBURY.  (Sup.  276.)  In  front,  on  a broad  reach  of  the 
Thames,  there  are  people  in  two  rowboats;  beyond,  near  the  cen- 
ter, are  a brigand  a sailboat;  at  the  right  are  three  steamboats, 
near  a large  white  steamer.  Farther  away  there  is  a sloop  under 
sail,  and  in  the  distance  there  is  a confusion  of  shipping,  under 
a cloudy  sky.  On  the  river  bank,  at  the  left,  there  stands  a mas- 
sive building.  The  butterfly,  shaded,  is  below  the  middle  of  the 
plate,  near  the  left  edge. 

Etching.  Height,  3%  inches;  width,  6%  inches. 

One  of  the  “Naval  Review  Series.” 

313  VISITORS’  BOAT.  (W.  237.)  At  the  right,  across  a broad 
expanse  of  water,  lies  a side-wheel  steamboat,  crowded  with  peo- 
ple, near  a sloop  with  bare  mast.  Beyond,  in  the  center,  is  a 
sloop  under  sail.  Farther  away,  at  the  left,  is  a large  war-ship. 
In  the  distance  is  a long  line  of  vessels  dressed  with  bunting. 
Below  the  middle  of  the  plate,  in  the  center,  are  three  stooping 
figures.  The  butterfly,  in  outline,  is  near  the  left  lower  corner. 
Etching.  Height,  6jA  inches;  width,  5 inches. 

One  of  the  “Naval  Review  Series.” 

Wedmore’s  brief  description  belongs  to  “Monitors.” 

314  TROOP-SHIPS.  (W.  238.)  Across  a wide  water  is  a double 
line  of  ships  dressed  with  bunting.  In  front  of  the  central  ship 


193 


whistler’s  etchings  and  dry-points 

there  is  a sloop  under  sail.  At  the  right  are  a launch  and  a 
steamboat,  and  beyond  them  are  small  boats  under  sail.  The 
butterfly,  in  outline,  is  at  the  right,  near  the  bottom  of  the  plate. 
Etching.  Height,  4%  inches;  width,  6J4  inches. 

One  of  the  “Naval  Review  Series.” 

315  MONITORS.  (W.  239.)  In  front,  at  the  left — apparently  on 
an  excursion-boat — three  people  are  seated,  one  of  them  reading 
from  a book,  and  beyond  them  a girl  and  a man  are  standing. 
Across  the  water,  at  the  right,  are  two  large  monitors.  In  the 
distance  are  other  war-vessels  and  a few  small  boats  under  sail. 
The  butterfly,  in  outline,  is  below  the  group  on  the  boat. 

Etching.  Height,  5 % inches;  width,  8*4  inches. 

One  of  the  “Naval  Review  Series.” 

316  THE  TURRET-SHIP.  Near  the  center,  across  wide  water,  is 
a ship  with  dark  hull.  At  the  left  is  a white  boat  dressed  with 
bunting.  In  the  distance  there  are  numerous  vessels.  The  but- 
terfly, in  outline,  is  below  the  middle  of  the  plate,  at  the  right. 
Etching.  Height,  4 % inches;  width,  6 pi  inches. 

Freer  and  Mansfield  Collections. 

One  of  the  “Naval  Review  Series.” 

317  SOUTHAMPTON  DOCKS.  (W.  240.)  Across  the  water  are 
large  sheds,  behind  a fence  of  open  palings,  and  at  the  right  is  a 
timber-yard,  near  which  two  steamships  are  lying,  side  by  side. 
The  butterfly,  in  outline,  is  near  the  bottom  of  the  plate,  at  the 
left. 

Etching.  Height,  2%  inches;  width,  6p&  inches. 

One  of  the  “Naval  Review  Series.” 

318  BUNTING.  (W.  241.)  Extending  to  the  top  of  the  plate  is  a 
line  of  flying  signals,  seen  from  the  deck  of  the  ship  to  which 
they  belong.  On  the  deck  are  five  figures,  three  in  the  dress  of 


194 


whistler’s  etchings  and  dry-points 


sailors.  Beyond,  at  the  right,  there  are  vessels  also  dressed  with 
bunting.  The  butterfly,  in  outline,  is  toward  the  left,  below  the 
figures. 

Etching.  Height,  6%  inches;  width,  4K  inches. 

One  of  the  “Naval  Review  Series.” 

319  DIPPING  THE  FLAG.  (W.  242.)  In  front,  at  the  left,  there  is 
a flagpole  with  a swirling  flag.  Over  the  water,  at  the  right,  is 
a large  war-ship,  near  much  smaller  ships.  In  the  distance  a line 
of  vessels  stretches  across  the  scene.  The  butterfly,  in  outline, 
is  at  the  left  of  the  flagpole. 

Etching.  Height,  3 lA  inches;  width,  6%  inches. 

One  of  the  “Naval  Review  Series.” 

320  THE  FLEET,  EVENING.  (W.  243.)  Near  the  center  lies  a 
sloop  with  jib  down  and  sail  partly  lowered.  On  either  side  is  a 
boat  under  sail.  In  the  distance  are  lines  of  war-ships  dressed 
with  bunting.  The  butterfly,  in  outline,  is  at  the  right,  near  the 
bottom  of  the  plate. 

Etching.  Height,  5X  inches;  width,  8%  inches. 

One  of  the  “Naval  Review  Series.” 

First  State:  There  are  patches  free  from  lines  on  the  upper 
part  of  the  partly-lowered  sail. 

Second  State:  Strong  etched  lines  are  added  on  the  sail,  where 
the  patches  were. 

321  RETURN  TO  TILBURY.  (W.  244.)  A number  of  ships  are 
sailing  away  in  the  distance.  There  are  some  slight  indications 
of  clouds  above  them,  and  suggestions  of  land  at  the  left.  The 
butterfly,  in  outline,  is  below  the  middle  of  the  plate,  near  the 
left  edge. 

Etching.  Height,  5^3  inches;  width,  3%'  inches. 

One  of  the  “Naval  Review  Series.” 


195 


whistler’s  etchings  and  dry-points 


322  LANDING-STAGE,  COWES.  (W.  245.)  Near  the  center  are 
four  ladies,  under  an  awning,  watching  vessels  in  the  distance. 
At  the  right  a man  is  seated,  holding  a newspaper  or  program. 
The  butterfly,  in  outline,  is  below  the  middle  of  the  plate,  near 
the  left  edge. 

Etching.  Height,  5%  inches;  width,  3^  inches. 

One  of  the  “Naval  Review  Series.” 

Catalogued  by  Wedmore  as  “Ryde  Pier.” 

323  LITTLE  CHELSEA.  (W.  246.)  Across  the  Thames,  on  the 
embankment,  are  houses  in  line  with  a church  tower  surmounted 
by  a flagpole.  Out  in  the  river,  at  the  left,  is  a long  barge  with 
a seated  figure  at  the  tiller.  There  are  suggestions  of  a boat- 
landing, with  three  clusters  of  spiles  in  front,  at  the  right.  The 
butterfly,  shaded,  is  below  the  barge. 

Etching.  Height,  2 inches;  width,  3X  inches. 

An  impression  in  the  Freer  Collection,  formerly  in  the  Hutchin- 
son Collection,  is  labelled:  “Little  Chelsea.” 

Mr.  Wedmore  says  that  this  and  the  dry-point  of  Windsor  were 
done  in  connection  with  a memorial  to  Queen  Victoria,  when 
Mr.  Whistler  was  President  of  the  Society  of  British  Artists. 
Catalogued  by  Wedmore  as  “Chelsea  (Memorial).” 

324  WINDSOR.  No.  1.  (W.247.)  Windsor  Castle,  seen  across  the 

Thames.  The  buildings  are  shown  in  reverse;  St.  George’s  Chapel 
and  the  Belfry  Tower,  below  which  is  a boat  house,  appearing 
at  the  left  of  the  Round  Tower.  The  butterfly,  in  outline,  is 
in  the  lower  part  of  the  plate,  at  the  left. 

Dry-point.  Height,  5%  inches;  width,  3^  inches. 

First  State:  The  buildings  and  their  reflections  are  slightly 
indicated.  The  flag  on  the  Round  Tower  is  unshaded. 

Second  State:  The  flag  is  slightly  shaded,  and  vertical  lines 
are  added  in  the  reflections  at  the  left. 

Mansfield  Collection. 

196 


whistler’s  etchings  and  dry-points 


Third  State:  Shading  is  added  under  the  parapet  of  the  Round 
Tower  and  on  the  lower  buildings  at  the  right.  Numerous 
fine  vertical  lines  are  added  in  the  reflection  of  the  Round 
Tower,  immediately  under  the  bank,  and  a few  vertical  lines 
are  added  in  the  reflections  immediately  below  the  boat  house. 
Benedict  and  Vanderbilt  Collections. 

Fourth  State:  Vertical  lines  are  added  in  the  reflections  at 
the  right,  and  the  work  elsewhere  is  strengthened. 

Freer  Collection. 

325  WINDSOR.  No.  2.  (Sup.  277.)  Another  view  of  Windsor 
Castle,  seen  across  the  Thames;  the  buildings  also  shown  in  re- 
verse. The  Round  Tower,  with  flag  flying,  appears  at  the  right, 
and  St.  George’s  Chapel  and  the  Belfry  Tower  appear  at  the  left. 
There  are  light  clouds  in  the  sky  and  extensive  reflections  in  the 
river.  The  butterfly,  in  outline,  is  near  the  left  lower  corner, 
below  a projecting  bush. 

Etching.  Height,  5^  inches;  width,  3^  inches. 

Freer  and  Mansfield  Collections. 

326  ABBEY  JUBILEE.  (Sup.  288.)  A sketch  of  temporary  gal- 
leries, ranged  at  the  right  and  crowded  with  people,  within  West- 
minster Abbey.  The  butterfly,  in  outline,  is  below  the  middle 
of  the  plate,  at  the  right  edge. 

Etching.  Height,  3^  inches;  width,  2 pi  inches. 

Etched  in  1887,  during  the  service  in  commemoration  of  Queen 
Victoria’s  Jubilee. 

First  State:  In  pure  etching. 

Mansfield  Collection. 

Second  State:  Fine  lines  in  dry-point  are  added  within  the 
curve  of  the  arch  at  the  right  and  below  the  arch,  and  else- 
where in  the  shading. 

Freer  Collection. 


197 


/ 


whistler’s  etchings  and  dry-points 


327  JUBILEE  PLACE,  CHELSEA.  (Sup.  295.)  Across  an  open 
space  is  a row  of  two-story  houses,  with  shops  in  their  lower 
stories.  On  the  street-corner,  at  the  left,  a lamp-post  stands  in 
front  of  a large  building  with  a narrow  doorway.  Women  and 
children  are  on  the  pavement  in  front  of  the  shops.  The  but- 
terfly, in  outline,  is  on  the  corner  building,  toward  the  top  of 
the  plate. 

Etching.  Height,  5 X inches;  width,  8 y%  inches. 

328  THE  FUR  CLOAK.  (W.  221.)  A woman  stands  facing  front, 
but  looking  slightly  to  the  right,  enveloped  in  a cloak  which 
reaches  to  her  feet.  There  is  shading  in  the  background.  The 
plate  is  unsigned. 

Dry-point.  Height,  8 l/2  inches;  width,  4^  inches. 

First  State:  The  face  is  narrow,  and  the  shading  in  the  back- 
ground is  expressed  for  the  most  part  in  fine  lines. 

Mansfield  Collection.  On  the  impression  in  this  collection 
Whistler  wrote:  “Fur  Cloak,  1st  State.” 

Second  State:  The  face  is  broadened,  and  a number  of  strong 
diagonal  lines  are  added  in  the  background,  at  the  right  of  the 
figure  and  near  the  top  of  the  plate. 

329  NORA  QUINN.  (W.  367.)  A full-length  sketch  of  a young 
woman  wearing  a hat,  who  sits  turned  well  to  the  left,  but  look- 
ing toward  the  front,  her  folded  hands  resting  upon  her  lap. 
There  is  slight  shading  in  the  background.  The  butterfly,  in 
outline,  is  at  the  left,  in  the  upper  half  of  the  plate. 

Dry-point.  Height,  8%  inches;  width,  4 % inches. 

Caldwell  and  Mansfield  Collections. 

330  MISS  LENOIR.  (W.  222.  Sup.  309.)  A three-quarter  length 
sketch  of  a young  woman  wearing  a fur-trimmed  coat  and  a hat 
with  tilted  brim,  who  sits  turned  slightly  to  the  left,  but  looking 

198 


whistler’s  etchings  and  dry-points 

toward  the  right.  The  butterfly,  in  outline,  is  above  the  middle 
of  the  plate,  near  the  left  edge. 

Etching.  Height,  3^  inches;  width,  2^i  inches. 

Catalogued  by  Wedmore  as  “Woman  Seated.” 

331  THE  LITTLE  HAT.  (Sup.  306.)  A half-length  portrait  of  a 
young  woman  wearing  a close-fitting  jacket  and  a peaked  hat 
with  feathers,  who  sits  turned  to  the  right,  but  looking  toward 
the  front.  There  is  shading  in  the  background.  The  butterfly, 
in  outline,  is  above  the  middle  of  the  plate,  near  the  right  edge. 
Etching.  Height,  3 inches;  width,  2]/2  inches. 

332  THE  MANTLE.  A young  woman  wearing  a mantle  and  a 
broad-brimmed  hat  with  peaked  crown  stands  turned  toward  the 
left,  but  looking  to  the  front.  The  skirt  of  her  dress  reaches  only 
to  her  ankles.  The  plate  is  unsigned. 

Etching.  Height,  3 X inches;  width,  2 inches. 

Freer  and  Mansfield  Collections. 

333  CAMEO,  No.  1.  (W.  224.)  A young  woman  seated,  with  a 

knotted  kerchief  on  her  head,  and  wearing  thin  drapery,  bends 
forward  to  the  right,  gazing  into  the  face  of  a reclining  child.  The 
butterfly,  in  outline,  is  below  the  middle  of  the  plate,  at  the  right. 
Etching.  Height,  6J4  inches;  width,  5 inches. 

Catalogued  by  Wedmore  as  “Mother  and  Child.” 

334  CAMEO,  No.  2.  (Sup.  3 1 1.)  A lightly  draped  young  woman 
wearing  a kerchief  bound  about  her  head  is  seated  on  a divan, 
bending  forward  to  the  right,  over  a child  apparently  asleep.  The 
butterfly,  in  outline,  is  toward  the  top  of  the  plate,  at  the  left. 
Etching.  Height,  6J4  inches;  width,  5 inches. 

335  THE  JAPANESE  DRESS.  A young  woman  with  a kerchief 
about  her  head,  and  wearing  a dress  of  a Japanese  pattern,  is 


1 99 


whistler’s  etchings  and  dry-points 

seated  in  a chair.  She  faces  to  the  right  and  is  reading  a news- 
paper. The  butterfly,  in  outline,  is  above  the  middle  of  the 
plate,  near  the  right  edge. 

Etching.  Height,  3 inches;  width,  2 -Hs  inches. 

Caldwell  Collection. 

336  BABY  PETTIGREW.  (Sup.  308.)  A sketch,  upon  the  upper 
part  of  the  plate,  of  a lightly  clad  child  with  flowing  hair,  who 
sits  looking  toward  the  right,  her  legs  turned  to  the  left.  The 
feet  and  arms  are  incomplete.  There  is  shading  in  the  back- 
ground, especially  about  the  head  and  shoulders.  The  butterfly, 
in  outline,  is  at  the  left  of  the  child. 

Etching.  Height,  5 X inches;  width,  3A6  inches. 

337  GIPSY  BABY.  A little  girl,  turned  slightly  to  the  right,  but 
looking  toward  the  front,  is  seated  on  the  knee  of  an  older  girl 
wearing  a hat,  who  sits  turned  toward  the  left.  The  butterfly, 
in  outline,  is  below  the  middle  of  the  plate,  near  the  right  edge. 
Etching.  Height,  y/s,  inches;  width,  2 inches. 

Freer  and  Mansfield  Collections.  On  the  impression  in  the  Freer 
Collection  Whistler  wrote:  “Gipsy  Baby.” 

Also  known  as  “The  Greedy  Baby.” 

338  RESTING  BY  THE  STOVE.  A sketch  of  two  nude  women 
wearing  kerchiefs  on  their  heads,  the  one  at  the  left  standing, 
the  other  seated  on  a box,  reading.  A stove-pipe  is  indicated  in 
the  background.  The  butterfly,  in  outline,  is  below  the  middle 
of  the  plate,  near  the  left  edge. 

Etching.  Height,  43^  inches;  width,  3 inches. 

First  State:  In  pure  etching. 

Second  State:  Diagonal  lines  in  dry-point  are  added  along  the 
contour  of  the  left  leg  of  the  seated  woman,  and  across  her  leg. 
Freer  Collection. 


200 


whistler’s  etchings  and  dry-points 


339  LITTLE  NUDE  FIGURE.  The  nude  figure  of  a young  woman, 
who  stands  turned  to  the  right  and  looking  down,  her  right  arm 
hanging  by  her  side  and  her  left  arm,  which  lacks  the  hand,  some- 
what extended.  There  is  firm  shading  in  the  background.  The 
butterfly,  in  outline,  is  at  the  left  edge  of  the  plate,  toward  the 
bottom. 

Etching.  Height,  3X  inches;  width,  2 inches. 

Freer  Collection. 

340  MODEL  STOOPING.  (Sup.  303.)  The  nude  figure  of  a young 
girl,  turning  to  the  left  and  stooping  low,  as  if  picking  up  some- 
thing with  both  hands.  There  is  shading  in  the  background. 
The  butterfly,  shaded,  is  below  the  middle  of  the  plate,  near 
the  left  edge. 

Etching.  Height,  5 X inches;  width,  3^  inches. 

First  State:  The  space  immediately  above  the  girl’s  back 
is  free  from  lines. 

Caldwell  Collection. 

Second  State:  Short  vertical  lines  in  dry-point  are  added 
above  the  girl’s  head  and  back. 

Lathrop  Collection. 

341  NUDE  FIGURE  RECLINING.  (Sup.  304.)  The  nude  fig- 
ure of  a woman  wearing  a turban,  who  reclines  at  full  length  on  a 
couch,  her  head  resting  on  a pillow  at  the  right,  her  right  hand 
raised  to  her  breast,  her  left  arm  resting  on  the  couch.  A sug- 
gestion of  the  butterfly,  shaded,  is  on  the  pillow. 

Etching.  Height,  7^  inches;  width,  10X  inches. 

342  BINDING  THE  HAIR.  (Sup.  305.)  A nude  woman  stands 
facing  toward  the  right,  her  hands  upraised,  arranging  her  hair. 
There  is  some  shading  in  the  background.  The  butterfly,  in  out- 
line, is  below  the  middle  of  the  plate,  near  the  left  edge. 


201 


whistler’s  etchings  and  dry-points 

Etching.  Height,  5X  inches;  width,  3^  inches. 

On  the  impression  marked  “ 1st  proof”  Whistler  wrote:  “ Bind- 
ing the  Hair.” 

343  MODEL  WITH  FAN.  A sketch  of  a young  woman  wearing 
slippers  and  with  drapery  falling  behind  from  her  shoulders, 
but  otherwise  nude,  who  stands  with  right  foot  advanced  and 
head  turned  to  the  right.  She  looks  toward  the  front,  waving 
a fan  in  her  right  hand.  The  butterfly,  in  outline,  is  half  way 
up  the  plate,  at  the  left  of  the  figure. 

Etching.  Height,  5X  inches;  width,  3^  inches. 

Freer  Collection. 

344  LITTLE  MODEL  SEATED.  The  nude  figure  of  a girl  seated, 
facing  to  the  right,  her  right  arm  thrust  backward,  as  if  support- 
ing her  body — all  in  deep  shadow.  The  plate  is  unsigned. 
Dry-point  and  Aquatint.  Height,  10  inches;  width,  7 inches. 
Freer  Collection.  The  impression  in  this  collection  is  thought 
to  be  the  only  one  taken  from  the  plate. 

345  YOUNG  WOMAN  STANDING.  (Sup.  371.)  The  figure  of  a 
tall  young  woman  wearing  a dress  with  flounces,  who  stands 
turning  toward  the  right,  with  arms  akimbo.  The  face  is  only 
slightly  indicated.  The  plate  is  unsigned. 

Etching.  Height,  inches;  width,  4%  inches. 

Mansfield  Collection.  On  the  back  of  this  impression  Whistler 
wrote:  “Only  proof.” 

346  NUDE  WOMAN  STANDING.  (Sup.  372.)  The  figure,  slightly 
indicated,  of  a nude  woman,  who  stands  with  her  head  turned 
toward  the  left,  her  arms  hanging  by  her  side.  Below  the  knees 
the  legs  are  merely  suggested.  The  plate  is  unsigned. 

Etching.  Height,  8 J{6  inches;  width,  4 V&  inches. 

Freer  and  Mansfield  Collections. 


202 


whistler’s  etchings  and  dry-points 

347  THE  BEACH,  OSTEND.  At  the  left,  two  women  are  seated 
on  a bench  near  the  water’s  edge,  one  protected  by  an  umbrella. 
Near  them  stands  a woman  looking  out  to  sea.  At  the  extreme 
left  is  a group  of  women  and  children,  standing  back  from  a 
spindle  topped  with  a globe.  At  the  right,  in  the  foreground  a 
child  is  standing  and  a child  is  seated,  and  near  the  water  two  chil- 
dren are  bending  over.  In  the  distance  are  two  boats  under  sail. 
The  butterfly,  in  outline,  is  on  the  beach,  at  the  left. 

Etching.  Height,  3%  inches;  width,  7 yi  inches. 

Freer  and  Mansfield  Collections. 

348  FISHING-QUAY,  OSTEND.  (Sup.  318.)  Across  a broad  open 
space,  masts  are  seen  above  the  edge  of  the  quay.  A high  build- 
ing, slightly  indicated,  is  at  the  right,  and  a low  building,  more 
fully  expressed,  is  at  the  left.  Two  women  are  standing  in  the 
foreground  at  the  right,  and  there  are  other  figures  on  different 
parts  of  the  quay.  The  butterfly,  in  outline,  is  below  the  middle 
of  the  plate,  at  the  left. 

Etching.  Height,  5 inches;  width,  7 inches. 

349  FISH-MARKET,  OSTEND.  In  an  open  space,  with  buildings  in 
the  background,  groups  of  women  and  children  are  standing  about 
a large  market-stand.  In  front  there  is  a woman;  at  the  right 
are  two  women  and  two  children;  at  the  left  are  three  children. 
Nearer  the  buildings  there  are  numerous  figures.  The  butterfly, 
in  outline,  is  above  the  middle  of  the  plate,  near  the  left  edge. 
Etching.  Height,  3%  inches;  width,  5^  inches. 

Freer  and  Mansfield  Collections. 

350  CANAL,  OSTEND.  (W.  248.)  Across  a canal  is  a flat  land- 
scape, with  scattered  houses  in  the  distance,  under  a cloudy  sky. 
There  are  slight  indications  of  a few  figures  here  and  there.  The 
butterfly,  in  outline,  is  at  the  left,  in  the  lower  part  of  the  plate. 
Etching.  Height,  2%  inches;  width,  6%  inches. 


203 


whistler’s  etchings  and  dry-points 


351  MARKET-PLACE,  BRUGES.  (W.  255.)  Beyond  the  market- 
place rises  the  Hotel  de  Ville,  with  its  belfry  and  round-arched 
entrance  and  many  pointed  windows.  On  a side  street  at  the 
left  are  two  houses,  beyond  which  appears  the  spire  of  a church. 
In  the  open  space  at  the  right  are  four  women,  and  at  the  left 
are  numerous  figures.  The  butterfly,  in  outline,  is  half  way  up 
the  plate,  near  the  right  edge. 

Etching.  Height,  3 % inches;  width,  5 inches. 

352  CHURCH,  BRUSSELS.  (W.  249.)  Opening  out  of  a church 
interior,  in  which  are  numerous  vacant  kneeling-chairs,  are  two 
chapels,  partly  in  shadow,  each  with  a supporting  column.  On  a 
wall  at  the  right  there  is  a large  disc,  and  in  the  church,  at  the  left, 
hangs  a chandelier.  A woman  is  kneeling  in  the  church;  a man 
is  standing  in  the  chapel  at  the  right,  and  in  the  other  chapel  a 
number  of  people  are  kneeling.  The  butterfly,  in  outline,  with 
radiations,  is  above  the  middle  of  the  plate,  near  the  left  edge. 
Etching.  Height,  4%  inches;  width,  6%  inches. 

First  State:  The  shadows  within  the  chapels  are  expressed 
by  short  diagonal  and  vertical  lines.  The  figure  of  the  woman 
kneeling  is  in  outline. 

Benedict  Collection. 

Second  State:  Longer  diagonal  lines,  that  run  from  left  to 
right,  cross  the  earlier  shading  within  the  chapel  at  the  left. 
Freer  and  Mansfield  Collections. 

Third  State:  Through  elaboration  with  dry-point  each  chapel 
is  now  in  deep  shadow.  The  cape  of  the  woman  kneeling  is 
shaded  by  fine  dry-point  lines. 

Lathrop  Collection. 

Fourth  State:  Numerous  diagonal  lines  are  added  upon  the 
wall  at  the  left  of  the  large  disc,  and  within  the  interior  of  each 
chapel. 

Mansfield  Collection. 


204 


whistler’s  etchings  and  dry-points 

353  A COURTYARD,  BRUSSELS.  (W.  250.)  The  courtyard,  in  the 
center  of  which  stands  a tall  lamp-post,  is  surrounded  on  three 
sides  by  high  buildings.  The  building  at  the  far  end  has  many 
windows  and  has  a central  gable  surmounted  by  an  architectural 
ornament.  About  the  courtyard  there  are  numerous  figures.  The 
butterfly,  shaded,  is  above  the  middle  of  the  plate,  at  the  right. 
Etching.  Height,  8%  inches;  width,  4%  inches. 

On  the  impression  in  the  Benedict  Collection  Whistler  wrote: 
“A  Courtyard,  Brussels.” 

354  GRAND’ PLACE,  BRUSSELS.  (W.  251.)  Beyond  the  market 
place  rises  the  broad  fafade  of  a palace  with  rows  of  windows 
between  tall  columns.  The  central  columns  support  a pediment 
filled  with  sculptured  figures,  above  which  runs  a balustrade 
surmounted  by  four  great  urns.  In  the  open  space  are  numer- 
ous figures.  The  butterfly,  in  outline,  is  above  the  middle  of 
the  plate,  near  the  right  edge. 

Etching.  Height,  8%  inches;  width,  5%  inches. 

355  PALACES,  BRUSSELS.  (W.  252.)  Beyond  an  open  space, 
the  elaborately  decorated  fafade  of  a narrow  palace,  with  long 
windows  closely  placed,  appears  between  two  palaces,  less  fully 
indicated,  on  each  of  which  are  sculptured  figures.  A carriage 
waits  in  front  of  the  palace  at  the  left.  In  the  open  space  are  a 
number  of  people,  some  standing  and  some  seated,  and  there  are 
flower-pots  and  trestles  and  other  signs  of  a flower-market.  The 
butterfly,  in  outline,  is  above  the  middle  of  the  plate,  at  the  left. 
Etching.  Height,  8%  inches;  width,  5 y2  inches. 

356  THE  BARROW,  BRUSSELS.  (W.  253.)  A market-barrow 
stands  in  the  street,  before  a wide  and  high  open  doorway.  At 
the  right  there  is  a smaller  open  doorway,  above  which,  on  the 
outer  wall,  is  a cross.  Beyond  the  barrow  two  girls  are  seated. 
In  the  doorway  at  the  right  two  women  are  standing,  and  at  the 


205 


whistler’s  etchings  and  dry-points 


right,  in  the  street,  a tall  girl  is  standing  near  a child  slightly 
indicated.  The  butterfly,  in  outline,  is  half  way  up  the  plate, 
near  the  right  edge. 

Etching.  Height,  4 % inches;  width,  6y&  inches. 

First  State:  The  interior  seen  through  each  of  the  doorways  is 
slightly  shaded. 

Benedict  and  Mansfield  Collections.  On  the  impressions  in 
both  collections  Whistler  wrote:  “The  Barrow — Quartier  des 
Marolles,  Brussels,”  and  “ 1st  State.” 

Second  State:  Shading  is  added  within  both  doorways,  but 
there  is  still  a large  space  only  slightly  shaded  within  the  main 
doorway. 

Lathrop  Collection. 

Third  State:  The  shading  is  heavy  and  nearly  uniform  with- 
in each  doorway. 

357  HIGH  STREET,  BRUSSELS.  (W.  254.)  On  the  street,  be- 
fore a building  with  a large  shop-window  in  the  center  and  two 
doorways  on  either  side,  many  people  are  gathered.  Standing  at 
the  left  is  a man  with  a market-barrow.  From  two  of  three  win- 
dows above,  people  are  looking  out.  The  butterfly,  in  outline, 
is  at  the  left  of  the  central  upper  window. 

Etching.  Height,  4%  inches;  width,  67A  inches. 

First  State:  In  the  open  doorway  at  the  extreme  right,  which 
has  very  little  shading,  appears  a second  butterfly,  in  outline. 
The  shading  in  the  other  doorways  is  comparatively  slight. 
Through  the  second  doorway  from  the  right  a well-defined 
window  is  seen. 

Wrenn  Collection.  On  the  back  of  the  impression  in  this  col- 
lection Whistler  wrote:  “La  Rue  Haute,  Brussels,  1st  State.” 

Second  State:  There  is  close  shading  in  all  the  doorways. 
The  butterfly  in  the  doorway  at  the  extreme  right  is  obscured, 
and  the  window  which  was  seen  through  the  next  doorway 

206 


whistler’s  etchings  and  dry-points 


has  been  obliterated.  There  is  additional  shading  on  some  of 
the  panes  of  the  large  windows. 

The  Rue  Haute,  or  Hoogstraat,  is  in  the  Quartier  des  Marolles. 

358  FLOWER-MARKET,  BRUSSELS.  (Sup.  346.)  Beyond  an 
open  space  rise  the  facades  of  three  tall  buildings,  of  four  stories 
each.  The  second  story  of  the  central  building  has  a stone  bal- 
cony. People  are  passing  on  the  pavement,  and  in  front  are  a 
trestle,  umbrella  and  other  signs  of  a flower-market.  The  butter- 
fly, in  outline,  is  below  the  middle  of  the  plate,  at  the  right  edge. 
Etching.  Height,  6%  inches;  width,  2%  inches. 

Catalogued  in  the  Supplement  as  “A  Guild  House,  Brussels.” 

359  GOLD-HOUSE,  BRUSSELS.  (Sup.  347.)  Steps  between  iron 
railings  lead  to  a doorway  flanked  by  narrow  windows,  above 
which  are  broad  windows  between  tall  columns  supporting  a 
pediment  surmounted  by  an  equestrian  statue.  In  the  street  are 
a few  figures,  sketchily  indicated.  The  butterfly,  in  outline,  is 
above  the  middle  of  the  plate,  near  the  right  edge. 

Etching.  Height,  6J4  inches;  width,  2%,  inches. 

360  HOUSE  OF  THE  SWAN,  BRUSSELS.  (Sup.  349.)  Curved 
steps,  guarded  on  the  right  by  an  iron  railing,  lead  to  the  open 
doorway  of  a tall  narrow  house  with  three  stories.  An  elabo- 
rate ornamentation  over  the  doorway  suggests  the  sign  of  “The 
Swan.”  Above  is  a window  of  four  panes,  below  a long  central 
window  opening  on  a massive  balcony.  In  each  story  there  are 
windows  on  either  side.  Figures  are  seen  within  the  doorway, 
on  the  steps  and  on  the  pavement.  The  butterfly,  in  outline,  is 
at  the  right  of  the  railing. 

Etching.  Height,  7 inches;  width,  2%  inches. 

361  ARCHWAY,  BRUSSELS.  (Sup.  350.)  At  the  left  of  an  arch- 
way is  a shop  with  two  show-windows,  next  a narrow  open  door- 


207 


whistler’s  etchings  and  dry-points 


way  reached  by  steps.  At  the  right  is  a house  which  shows  two 
long  windows  in  front.  Seen  through  the  archway,  is  a street 
lined  on  the  right  with  houses.  Over  the  shop  is  a sign  reading: 
" Vandembroeck  — Gebecker — Boulanger.  337.”  There  is  a 
woman  seated  on  the  steps,  with  a child  in  front  of  her,  and  three 
men  and  a child  are  standing  near  them.  A man  is  seated  near 
two  women  standing  by  the  wall  of  the  house  at  the  right.  There 
are  women  and  children  here  and  there  in  the  street  in  front, 
and  in  the  distant  street.  The  butterfly,  in  outline,  is  above  the 
middle  of  the  plate,  near  the  left  edge. 

Etching.  Height,  4 % inches;  width,  8X  inches. 

362  BRUSSELS  CHILDREN.  (Sup.  352.)  A child  is  seated  in  a 
chair  at  the  right  of  a hand-barrow  filled  with  baskets  of  fruit, 
and  two  children  are  seated  back  of  her.  Behind  the  barrow 
a girl  is  standing  by  an  open  doorway  from  which  a girl  is  looking 
out.  A woman  is  standing  in  the  background  at  the  right.  The 
butterfly,  in  outline,  is  above  the  middle  of  the  plate,  near  the 
left  edge. 

Etching.  Height,  2^4  inches;  width,  3 34s  inches. 

363  BUTTER  STREET,  BRUSSELS.  (Sup.  348.)  At  the  right 
is  a house  with  a large  shop-window,  next  a closed  door,  a second 
story  with  three  narrow  windows,  and  a sloping  roof  with  two 
dormer-windows.  Adjoining  at  the  left  is  a three-storied  house 
with  a high  doorway  and  numerous  windows,  and  a flat  roof. 
A woman  is  standing  in  front  of  the  doorway  at  the  left;  other 
figures,  slightly  indicated,  are  on  the  pavement,  and  two  children 
are  hurrying  through  the  street.  The  butterfly,  in  outline,  is 
below  the  middle  of  the  plate,  near  the  right  edge. 

Etching.  Height,  5X  inches;  width,  3%  inches. 

The  Rue  du  Beurre  runs  from  the  Grand’  Place  to  the  Bourse. 
Catalogued  in  the  Supplement,  through  printer’s  error,  as  “ Butler 
Street.” 


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whistler’s  etchings  and  dry-points 


364  LITTLE  BUTTER  STREET,  BRUSSELS.  (Sup.  353.)  At 
the  far  end  of  a narrow  street,  lined  with  high  walls,  is  a four- 
storied building  with  notched  gable,  at  the  right  of  which  an 
archway  leads  through  another  gabled  building.  A lantern  pro- 
jects from  a wall  on  the  left,  and  a frame  for  telegraph  wires  is 
visible  on  the  roof  of  a tall  building  in  the  distance.  In  the  street 
are  many  people.  The  butterfly,  in  outline,  is  below  the  middle 
of  the  plate,  near  the  right  edge. 

Etching.  Height,  7%  inches;  width,  3X  inches. 

Freer  and  Mansfield  Collections.  On  the  impression  in  the  Mans- 
field Collection  Whistler  wrote:  “Little  Butter  Street,  Brussels.” 
Catalogued  in  the  Supplement  as  “Street,  Brussels.” 

365  RUE  DE  LA  ROCHEFOUCAULT.  (Sup.  316.)  Five  shops 
fill  the  front  of  a building  upon  which,  at  the  right,  is  the  sign: 
“Rue  de  [l]a  Rochefoucault.”  In  front  of  the  shop  nearest  the 
extreme  left,  is  a fruit-stand,  before  which  a woman  and  a child 
are  lingering.  In  front  of  the  second  shop  stands  a woman  who 
is  conversing  with  a man  seated  within.  Standing  within  the 
third  shop  is  a woman  bending  over  a counter.  In  the  adjoin- 
ing shop,  which  displays  two  announcements  of  “Huitres  du 
Jour,”  a woman  is  seated.  Within  the  shop  near  the  extreme 
right  are  two  women,  both  with  their  backs  turned.  The  butter- 
fly, shaded,  is  between  the  second  and  third  shop-windows. 
Etching.  Height,  5 yi  inches;  width,  inches. 

Benedict  and  Mansfield  Collections.  On  the  impression  in  the 
Benedict  Collection  Whistler  wrote:  “Rue  de  la  Rochefoucault” 
and  “1st  proof.”  On  the  impression  in  the  Mansfield  Collec- 
tion Whistler  wrote:  “1st  state,  2nd  proof.” 

366  QUA1  DE  MONTEBELLO.  (Sup.  317.)  Wares  are  displayed 
under  awnings  in  front  of  a large  building  showing  two  rows  of 
upper  windows.  Over  one  of  these  awnings  is  a sign  reading, 
rather  indistinctly:  “Fque  de  Compass.”  In  front  of  the  door- 


209 


whistler’s  etchings  and  dry-points 


way  under  this  awning  a man  is  standing.  Under  the  awning 
at  the  right  two  women  and  a man  are  inspecting  the  wares. 
Under  the  awning  at  the  extreme  left  two  women  are  seated, 
with  a dog  at  their  feet.  The  butterfly,  in  outline,  is  above  the 
awning  under  which  the  women  are  seated. 

Etching.  Height,  5%  inches;  width,  &/%  inches. 

367  PASSAGES  DE  L’OPERA.  (W.  256.)  Across  a pavement 
on  which  are  trees  and  kiosques,  a passageway  between  shops 
with  awnings  opens  below  the  round  arch  of  an  entresol,  above 
which  is  a long  balcony  with  an  iron  railing.  A sign  over  the 
passageway  reads:  “Passages  de  l’Oper[a],”  with  the  indistinct 
name  of  a cafe  below.  A sign  over  the  awning  at  the  right  reads: 
“[V]ins  & Liqueurs.”  There  are  people  on  the  pavement  and  in 
the  passageway.  The  butterfly,  in  outline,  is  half  way  up  the 
plate,  near  the  right  edge. 

Etching.  Height,  5 inches;  width,  8X  inches. 

368  PLACE  DAUMONT.  (Sup.  326.)  On  the  right  side  of  a street 
curving  to  the  left  is  a row  of  picturesque  houses,  and  on  the 
corner  at  the  left  is  a house  with  an  awning.  The  word  “ Vieux” 
is  seen  on  the  projecting  side  of  the  third  house  at  the  right.  At 
the  opening  of  the  street  is  a covered  vehicle,  and  a market- 
booth  stands  in  an  open  space  in  front.  Two  girls  are  standing 
in  the  open  space,  and  there  are  people  in  the  street.  In  the 
left  lower  corner  of  the  plate,  indicated  faintly:  “Place  Dau- 
mont.”  The  butterfly,  shaded,  is  on  the  roof  of  the  nearest 
house  at  the  right. 

Etching.  Height,  5%  inches;  width,  3 ]/%  inches. 

369  COURTYARD,  RUE  P.  L.  COURIER.  (Sup.  351.)  At  the 
far  side  of  a courtyard,  two  buildings  form  an  angle.  In  the 
building  at  the  left  is  a closed  door,  near  a large  window  in  front 
of  which  a woman  is  standing.  Above  are  two  windows,  one  of 


21c 


whistler’s  etchings  and  dry-points 


them  at  the  angle,  back  of  a curved  balcony  supported  by  an 
elliptical  arch.  Clothing  is  hung  on  a line  stretched  from  the 
wall  at  the  right  to  the  upper  window  at  the  left.  The  butterfly, 
shaded,  is  above  the  door. 

Etching.  Height,  5 % inches;  width,  3^  inches. 

Described  also  (Sup.  333)  as  “Windows  opposite  Hotel,  Bourges.” 

370  THE  WINE-SHOP.  Below  two  windows,  between  which  a 
shrub  is  growing,  is  a shop-front  with  the  sign:  “Fils  Couvreur.” 
At  the  right,  a passageway  bearing  the  number  “45”  leads  to  a 
court,  at  the  far  end  of  which,  near  a large  window,  is  an  open 
doorway  in  which  a woman  is  standing.  In  front  of  the  shop  a 
woman  stands  with  a child  in  her  arms.  At  her  left  is  a child 
wearing  a sunbonnet,  and  at  her  right  are  faint  indications  of 
three  children.  The  butterfly,  shaded,  is  half  way  up  the  plate, 
at  the  right  edge. 

Etching.  Height,  6%  inches;  width,  4%  inches. 

Mansfield  Collection.  This  impression  is  perhaps  unique. 


371  RAILWAY-STATION,  VOVES.  (Sup.  319.)  At  the  left  of  a 
railway-track  stands  a horse  with  a cart  in  which  there  are  two 
people.  Close  by  stands  a woman  with  a wheelbarrow.  Across 
the  track  is  a post  with  signal  set.  In  the  distance  is  a windmill, 
at  the  left  of  a long  line  of  trees,  with  buildings  here  and  there, 
extending  far  to  the  right. 

Etching.  Height,  5^  inches;  width,  8^4  inches. 

First  State:  There  is  no  butterfly. 

Freer  and  Mansfield  Collections.  On  the  impression  in  the 
Mansfield  Collection  Whistler  wrote:  “ 1st  proof,  1st  State.” 

Second  State:  The  butterfly,  in  outline,  is  an  inch  from  the 
bottom  of  the  plate,  and  two  and  five-eighths  inches  from  the 
right  edge. 

Wrenn  Collection. 


21 1 


whistler’s  etchings  and  dry-points 


372  RUE  DES  BONS  ENFANTS,  TOURS.  (Sup.  320.)  At  the 
angle  of  a street  turning  to  the  right  is  a four-storied  house, 
through  which  runs  a passageway,  at  the  left  of  a closed  doorway. 
Over  the  passageway  are  ventilating  shutters  and  number  “22.” 
In  the  second  story  is  a long  window,  with  shutters  partly  open, 
behind  a balcony  with  iron  railing.  In  the  third  story  is  a similar 
window,  open  behind  a similar  balcony,  and  in  the  fourth  story 
is  a smaller  window.  There  are  people  in  the  passageway,  and 
two  figures  in  the  open  window.  The  butterfly,  shaded,  is  above 
the  middle  of  the  plate,  near  the  left  edge. 

Etching.  Height,  5%  inches;  width,  3^  inches. 

First  State:  There  is  comparatively  slight  shading  within  the 
passageway,  and  a space  is  left  blank  between  the  shutters  of 
the  second-story  window. 

Wrenn  Collection. 

Second  State:  Fine  diagonal  lines  in  dry-point,  running  from 
left  to  right,  are  added  in  the  upper  part  of  the  shading  within 
the  third-story  window,  and  fine  dry-point  lines  are  added  in 
the  shading  of  the  passageway. 

Mansfield  Collection. 

Third  State:  There  is  heavy  shading  within  the  passageway, 
bringing  the  figures  into  stronger  relief.  The  space  between 
the  shutters  of  the  second-story  window  is  shaded  throughout, 
and  there  is  additional  work  in  dry-point  in  the  open  window. 
Lathrop  Collection. 


373  HOTEL  CROIX  BLANCHE,  TOURS.  (Sup.  321.)  Standing 
well  out  in  a court  is  a tower  with  a large  open  doorway,  above 
which  are  two  narrow  windows,  one  high  above  the  other.  Pro- 
jecting in  front  is  a lantern.  On  each  side  is  a building  showing 
an  open  doorway  and  windows.  Foliage  extends  to  the  tower 
from  the  left.  In  the  court  at  the  right  there  is  a man  carrying 
a bucket,  and  about  the  court  are  numerous  fowls.  The  butter- 


212 


whistler’s  etchings  and  dry-points 

fly,  shaded,  is  above  the  middle  of  the  plate,  at  the  right  of  the 
tower. 

Etching.  Height,  6%  inches;  width,  4^8  inches. 

First  State:  There  is  comparatively  open  shading,  in  parallel 
lines,  in  the  center  of  the  doorway  of  the  tower. 

Lathrop  Collection. 

Second  State:  The  doorway  of  the  tower  is  closely  shaded 
throughout,  and  there  is  additional  shading  in  the  doorway  at 
the  right. 

374  MARKET-PLACE,  TOURS.  (Sup.  322.)  In  an  ample  open 
space  there  are  groups  of  market-women,  standing  in  front  of 
booths  at  the  left  and  gathered  near  a cart  at  the  right.  Beyond 
the  booths  rises  a tall  gabled  house  with  open  window  in  the 
second  story.  Back  of  the  cart  is  a building  from  which  a lan- 
tern projects  and  on  the  door  of  which  are  indistinct  signs.  On 
a cross-street  beyond  is  a house  showing  two  chimneys.  The 
butterfly,  shaded,  is  on  the  first  story  of  the  gabled  house. 
Etching.  Height,  10%  inches;  width,  5%  inches. 

375  LITTLE  MARKET-PLACE,  TOURS.  (Sup.  324.)  A market- 
place, with  booths  on  either  side  and  tall  houses  at  the  left.  At 
the  far  end  a passageway  extends  through  a square  tower-like 
structure,  set  between  two  buildings.  Above  the  passageway  is 
the  sign:  “Hotel — Halles  Centrales — Raymond  Fils,”  and  upon 
the  building  at  the  left  is  the  sign:  “Hotel.”  There  are  people 
about  the  booths  and  near  the  passageway,  and  there  is  a dog  in 
the  foreground,  at  the  left.  The  butterfly,  shaded,  is  below  the 
middle  of  the  plate,  at  the  right  edge. 

Etching.  Height,  5 inches;  width,  6 % inches. 

376  HANGMAN’S  HOUSE,  TOURS.  (Sup.  323.)  Under  a deco- 
rated canopy  is  a doorway  with  raised  sill  and  round  arch,  in 


213 


whistler’s  etchings  and  dry-points 

which  are  closed  doors  separated  by  a carved  stile,  below  a lu- 
nette filled  with  intricate  ironwork.  A boy  and  a girl  are  seated 
at  the  left,  upon  the  door-sill.  The  butterfly,  shaded,  is  on  the 
outer  wall,  at  the  left  of  the  children. 

Etching.  Height,  5X  inches;  width,  3^8  inches. 

This  is  the  doorway  of  the  house  of  Tristan  1’Ermite,  the  infamous 
provost  of  Louis  XL 

First  State:  The  children’s  figures  are  without  shading. 
Freer  and  Mansfield  Collections. 

Second  State:  There  is  shading  on  the  figures,  and  there  is 
additional  work  upon  the  arch  of  the  canopy,  and  elsewhere 
throughout  the  plate. 

377  CELLAR-DOOR,  TOURS.  (Sup.  325.)  Within  an  open  door- 
way at  the  right,  a woman  is  ascending  a staircase.  Above  a 
recess  in  the  wall  at  the  left  is  a balcony  on  which  a woman  is 
standing,  in  front  of  a narrow  opened  window.  The  butterfly, 
shaded,  is  on  the  wall,  above  the  doorway. 

Etching.  Height,  5 ^ inches;  width,  3 }/i  inches. 

First  State:  There  is  only  slight  shading  within  the  doorway 
at  the  right  and  within  the  open  window. 

Caldwell  Collection. 

Second  State:  There  is  strong  shading  within  the  doorway 
and  within  the  open  window,  bringing  both  of  the  figures  into 
greater  relief. 

378  CHATEAU  BRIDOREZ,TOURAINE.  (Sup.  327.)  A woman 
with  a child  in  her  arms  is  standing  under  a tree  at  the  left,  in 
the  garden  of  a chateau,  the  steep  roof  and  the  turrets  of  which 
appear  in  the  background.  The  butterfly,  shaded,  is  at  the  right, 
on  the  wall  of  the  chateau. 

Etching.  Height,  5X  inches;  width,  3%  inches. 

Catalogued  in  the  Supplement  as  “Chateau.” 


214 


whistler’s  etchings  and  dry-points 

379  CHATEAU,  TOURAINE.  (Sup.  328.)  A long  flight  of  steps, 
at  the  right  of  a low,  thatched  structure,  leads  up  to  a chateau, 
slightly  sketched,  in  the  background.  Below  the  steps  stands  a 
woman  wearing  a hat.  The  butterfly,  shaded,  is  near  the  bottom 
of  the  plate,  at  the  left  of  the  woman. 

Etching.  Height,  5X  inches;  width,  3>i  inches. 

Lathrop  Collection.  It  is  thought  that  there  are  not  more  than 
two  impressions  from  this  plate. 

380  DOORWAY,  TOURAINE.  (Sup.  329.)  There  are  two  chil- 
dren seated  on  the  pavement  in  front  of  an  open  doorway,  at 
the  left  of  which  is  a double  window,  the  right  half  of  which  is 
open.  The  butterfly,  shaded,  is  near  the  top  of  the  plate, 
almost  in  the  center. 

Etching.  Height,  3T6  inches;  width,  5^  inches. 

381  CHATEAU  VERNEUIL,  TOURAINE.  (Sup.  354.)  Back  of 
a paling  which  borders  water  in  which  strong  reflections  are  cast, 
is  a mass  of  trees,  above  which  rise  the  roofs  and  chimneys  of  a 
chateau.  The  butterfly,  shaded,  is  near  the  left  edge  of  the  plate 
toward  the  top. 

Etching.  Height,  6 % inches;  width,  4%  inches. 

382  MAIRIE,  LOCHES.  (W.  259.)  Seen  across  a narrow  street, 
at  its  turn  by  a high  building  on  the  right,  is  the  facade  of  a 
renaissance  house.  A small  rounded  doorway  opens  upon  the 
pavement;  in  the  second  story  is  a window  with  partly  opened 
shutters  below  and  closed  sashes  above;  in  the  third  story  is  a 
closed  window,  behind  a stone  balcony;  in  the  steep  roof  is  a 
dormer-window,  set  in  carved  stone  and  boarded  up.  A lantern 
projects  from  a building  at  the  left,  approached  by  steps.  In 
the  foreground  a woman  is  walking  forward  at  the  right,  fol- 
lowed by  a woman  leading  a child.  Three  women  are  standing 
in  front  of  the  doorway,  and  a figure  is  standing  on  the  steps. 


215 


whistler’s  etchings  and  dry-points 


The  butterfly,  shaded,  is  above  the  middle  of  the  plate,  on  the 
building  at  the  right. 

Etching.  Height,  8 y%  inches;  width,  5^  inches. 

First  State:  There  is  slight  shading  in  the  doorway  and  in 
the  lower  part  of  the  second-story  window,  the  panes  in  the 
upper  part  being  scarcely  indicated.  Only  a few  panes  in  the 
third-story  window  are  shaded.  The  stonework  of  the  bal- 
cony is  merely  suggested. 

Dickerman  Collection. 

Second  State:  The  doorway  is  strongly  shaded,  and  there  is 
also  deep  shading  in  the  open  part  of  the  second-story  window, 
disclosing  fully  a figure  and  a lamp  within.  The  space  in  the 
upper  part  of  the  window  is  now  equally  divided  and  is  filled 
with  shaded  panes.  The  greater  number  of  panes  in  the  third- 
story  window  are  shaded.  The  stonework  of  the  balcony  is 
well  defined,  and  there  is  additional  work  on  the  cornice  and 
on  other  parts  of  the  building. 

383  CHANCELLERIE,  LOCHES.  (Sup.  334.)  Beyond  two  mas- 
sive buildings  which  stand  back  from  a pavement  at  the  left, 
a richly  ornamented  renaissance  house  with  steep  roof  and  tall 
chimneys  projects  to  the  border  of  the  street.  Above  a large 
window,  below  which  the  letters  “rements”  are  seen,  are  two 
windows  with  balconies,  and  above  these  are  two  ornate  arches, 
below  a small  projecting  window  surmounted  by  a single  figure. 
Adjoining  is  a house  with  an  iron  balcony  over  its  doorway  and  a 
dormer-window  in  its  steep  roof.  At  the  right  there  is  a tall 
building,  slightly  indicated.  Two  women  are  standing  on  the 
pavement;  a woman  with  a child  in  her  arms  and  a child  by  her 
side  is  standing  in  the  street,  near  two  barrels;  a girl  is  standing  in 
the  street  in  front,  and  two  women  are  seen  in  the  distance.  In 
the  foreground,  at  the  left,  is  a dog.  The  butterfly,  shaded,  is 
below  the  middle  of  the  plate,  near  the  right  edge. 

Etching.  Height,  io$4  inches;  width,  6l/2  inches. 


210 


whistler’s  etchings  and  dry-points 


First  State:  The  panes  of  the  large  window  are  shaded  by 
short  etched  lines.  The  eaves  at  the  jutting  corner  of  the  far- 
thest house  are  scarcely  shaded,  and  the  steep  roof  above  is 
shaded  only  along  the  edge.  The  wall  of  the  house  is  blank. 
Babbott  and  Freer  Collections. 

Second  State:  There  is  additional  shading  in  dry-point  on  all 
of  the  window-panes. 

Benedict  Collection. 

Third  State:  There  is  further  shading  upon  all  of  the  window- 
panes,  and  work  is  added  upon  the  cornice  of  the  renaissance 
house.  Shading  is  added  below  the  eaves  of  the  jutting  corner 
of  the  farthest  house,  and  upon  its  wall,  near  the  balcony,  and 
the  end  of  its  steep  roof  is  fully  shaded. 

Mansfield  Collection. 

Fourth  State:  There  is  still  more  shading  on  all  the  window- 
panes,  the  upper  six  panes  of  the  lowest  window  being  uni- 
formly dark. 

Wrenn  Collection. 


384  HOTEL  DE  VILLE,  LOCHES.  At  the  far  end  of  a street  lined 
with  houses  and  filled  with  people,  are  two  lofty  adjoining  build- 
ings— the  one  at  the  left,  massive  and  castellated,  with  few  win- 
dows, steep  roof,  a clock  in  a dormer-window,  and  a belfry;  the 
other,  narrower,  with  open  doorway  approached  by  steps,  broad 
windows  in  four  stories,  and  pointed  roof  surmounted  by  an  ar- 
chitectural ornament.  Through  the  larger  building  there  is  a 
broad  passageway,  near  which  projects  a lantern.  The  butter- 
fly, shaded,  is  above  the  middle  of  the  plate,  at  the  right. 
Etching.  Height,  10%  inches;  width,  6%  inches. 

Freer  and  Mansfield  Collections. 

385  FROM  AGNES  SOREL’S  WALK.  In  the  foreground,  viewed 
from  above,  is  a cluster  of  steep-roofed  houses,  surrounding  a 


217 


whistler’s  etchings  and  dry-points 

wide  garden.  Beyond  rows  of  slender  trees,  there  flows  a river. 
Farther  away  the  country,  first  flat,  then  undulating,  stretches 
into  the  remote  distance,  under  a cloudy  sky.  Upon  the  rising 
ground  seen  at  the  right  a church  spire  appears.  The  butterfly, 
shaded,  is  on  the  roof  of  a house  at  the  right. 

Etching.  Height,  5 X inches;  width,  10%  inches. 

Freer  and  Mansfield  Collections. 

MARKET-WOMEN,  LOCHES.  (Sup.  335.)  In  an  open  space, 
in  front  of  a building  slightly  indicated,  there  is  a group  of  five 
women.  Three  are  standing,  one  near  the  center,  and  two  are 
seated  in  chairs.  In  the  background,  at  the  right  are  three  more 
women,  slightly  indicated,  and  at  the  left  is  a woman  standing  in 
front  of  a doorway  within  which  another  woman  appears.  In  the 
foreground  there  are  two  turkeys.  The  butterfly,  shaded,  is  near 
the  top  of  the  plate,  above  a window. 

Etching.  Height,  3%  inches;  width,  2 y%  inches. 

HOTEL  PROMENADE,  LOCHES.  (Sup.  336.)  A long  two- 
story  building,  through  which  runs  a broad  passageway,  fills  the 
far  side  of  a courtyard  bounded  on  either  hand  by  dissimilar 
low  buildings.  Three  women  are  standing  in  the  courtyard  at 
the  right,  and  the  figures  of  a woman  and  a man  are  slightly 
indicated  at  the  left.  The  butterfly,  shaded,  is  on  the  roof  of  the 
principal  building,  below  a central  chimney. 

Etching.  Height,  2 inches;  width,  3%  inches. 

THEATRE,  LOCHES.  (Sup.  337.)  A small  interior,  in  which 
appear  the  heads  and  the  shoulders  of  several  people,  seated  and 
facing  to  the  right,  and  a few  figures  standing  in  the  background. 
Two  branches  of  a panelled  balcony  meet  at  a pillar  ornamented 
with  a medallion.  The  butterfly,  shaded,  is  on  a panel  of  the 
balcony,  at  the  right  of  the  pillar. 

Etching.  Height,  4 inches;  width,  2 $4  inches. 

218 


whistler’s  etchings  and  dry-points 


389  TOUR  ST.  ANTOINE,  LOCHES.  (Sup.  338.)  Beyond  a row 
of  houses  bordering  a street  which  bends  to  the  left,  rises  a clock- 
tower  surrounded  by  some  scaffolding  and  surmounted  by  a flag. 
Houses  on  the  opposite  side  of  the  street  are  slightly  indicated. 
In  the  street  are  several  people,  a chaise,  horse  and  cart,  and  a 
hand-barrow.  The  butterfly,  shaded,  is  below  the  middle  of 
the  plate,  near  the  right  edge. 

Etching.  Height,  5^  inches;  width,  3%  inches. 

390  MARKET-PLACE,  LOCHES.  (Sup.  339.)  Along  the  front  of 
a building  seen  across  an  open  space,  there  is  an  awning  stretched 
over  a market-cart.  About  the  cart  five  women  and  a child  are 
standing;  a woman  is  seated  back  of  a market-basket  at  the  left, 
and  there  is  a woman  standing  near  a market-stall  at  the  right, 
behind  which  a woman  is  seated.  Above  the  awning  is  an  indis- 
tinct sign.  The  butterfly,  shaded,  is  at  the  left,  on  the  awning. 
Etching.  Height,  3^  inches;  width,  5 X inches. 

391  RENAISSANCE  WINDOW,  LOCHES.  (Sup.  340.)  Above  a 
broad  gateway  with  round  arch  and  massive  wooden  doors, 
a richly  carved  stone  setting  encases  a window  with  two  small 
closed  sashes  above  two  long  sashes,  one  of  which  is  open.  On 
the  window-sill  is  a row  of  flower-pots.  At  the  right  there  is  a 
smaller  window,  the  lower  part  of  which  is  open.  Below,  at  the 
right,  a lady  is  seated,  holding  above  her  head  an  open  umbrella, 
and  in  front  a woman  is  standing  and  another  is  seated.  The 
butterfly,  shaded,  is  slightly  indicated  near  the  edge  of  the  plate, 
at  the  left  of  the  larger  window. 

Etching.  Height,  6%  inches;  width,  4%  inches. 

First  State:  The  shading  on  the  umbrella  is  comparatively 
slight,  and  the  features  of  the  lady  are  fairly  distinct.  The 
features  of  the  woman  standing  in  front  are  undefined. 
Mansfield  Collection.  The  impression  in  this  collection  was 
said  by  Mr.  Whistler  to  be  the  only  one  of  this  state. 


219 


whistler’s  etchings  and  dry-points 

Second  State:  Through  over-biting  the  shading  on  the  um- 
brella is  very  dark,  obscuring  the  features  of  the  lady  holding 
the  umbrella.  The  features  of  the  woman  standing  in  front 
are  now  defined.  There  is  stronger  shading  in  the  open  parts 
of  both  windows.  Short  diagonal  lines  are  added  on  the  arch 
of  the  doorway  and  on  the  wall  above. 

Freer  and  Lathrop  Collections. 


392  CHAPEL  DOORWAY,  MONTRESOR.  (Sup.  341.)  Within  a 
richly  set  doorway,  reached  by  two  broad  steps  and  three  narrow 
ones,  and  over  which  are  a large  carved  shell  and  small  sculptured 
figures,  is  a closed  door  bearing  an  official  announcement  headed : 
“Ministere  de  la  Guerre.”  At  the  left  of  the  doorway  is  a small 
barred  window.  Below,  in  the  angle  of  the  chapel  wall,  stands  a 
small  girl  wearing  a sunbonnet.  The  butterfly,  shaded,  is  on  the 
wall,  at  the  left  of  the  doorway. 

Etching.  Height,  6%  inches;  width,  4 % inches. 

393  CHATEAU  AM  BOISE.  (Sup.  342.)  At  the  end  of  a broad 
terrace  stands  the  chateau;  its  round  tower  projecting  at  the 
left,  and  the  main  building,  with  its  corner  turrets  and  steep 
roof,  extending  to  the  right.  Beyond,  at  the  left,  is  a glimpse 
of  landscape.  The  butterfly,  shaded,  is  below  the  middle  of  the 
plate,  near  the  right  edge. 

Etching.  Height,  3%  inches;  width,  2%  inches. 

394  CLOCK-TOWER,  AMBOISE.  (Sup.  343.)  A street  that  turns 
sharply  by  a massive  building  on  fhe  right,  and  is  lined  by  houses 
on  the  left,  passes  through  an  archway  in  a lofty  square  tower, 
in  which  a clock  is  set  below  a dormer-window  in  a steep  roof 
surmounted  by  a belfry.  In  front  of  the  building  at  the  right,  a 
woman  is  standing  with  a child  in  her  arms  and  a child  by  her 
side,  near  whom  a young  girl  is  standing,  and  there  are  figures  in 


220 


whistler’s  etchings  and  dry-points 

the  street  beyond.  The  butterfly,  in  outline,  is  half  way  up  the 
plate,  near  the  left  edge. 

Etching.  Height,  6%  inches;  width,  4%  inches. 

395  GATEWAY,  CHARTREUX.  (Sup.  344.)  A broad  driveway 
leads  to  an  open  gateway  of  massive  masonry,  with  a round 
arch  and  with  posts  surmounted  by  urns,  at  the  right  of  a lodge. 
Through  the  entrance  a horse  and  carriage  and  a woman’s  figure 
are  seen.  In  the  foreground  are  two  peacocks.  The  butterfly, 
in  outline,  is  on  the  driveway,  near  the  bottom  of  the  plate. 
Etching.  Height,  inches;  width,  3%  inches. 

Freer  and  Mansfield  Collections.  On  the  impression  in  each  of 
these  collections  Whistler  wrote:  “Gateway,  Chartreux.” 
Catalogued  in  the  Supplement  as  “Gateway,  Chartreuse.” 

396  UNDER  THE  CATHEDRAL,  BLOIS.  (Sup.  345.)  At  the 
left,  on  the  corner  of  a narrow  street,  stands  a building  of  heavy 
masonry,  showing  in  front  a doorway  reached  by  steps,  a large 
open  window  in  the  second  story,  and  a small  window  above. 
At  the  end  of  the  street  is  a house  of  four  stories  that  has  a 
dormer-window  in  its  pointed  roof.  At  the  right  of  this  house 
rises  a flight  of  steps.  Beyond  towers  the  cathedral.  There  are 
figures  about  the  distant  steps,  and  there  is  a figure  in  the 
window  in  front.  The  butterfly,  shaded,  is  below  the  middle  of 
the  plate,  near  the  right  edge. 

Etching.  Height,  inches;  width,  5^  inches. 

397  COURT  OF  MONASTERY  OF  ST.  AUGUSTINE,  BOURGES. 
(Sup.  330.)  On  the  far  side  of  a court  is  a massive  building  of 
two  stories,  with  round  arches  below  and  long  windows  above. 
Under  one  arch  is  a passage,  and  through  another  arch  a staircase 
is  seen.  A different  type  of  building  bounds  the  court  on  the  left. 
Clothes  are  hung  on  a line  stretched  across  the  court.  Women 
and  children  are  about  the  court;  others  look  out  of  the  open 


221 


whistler’s  etchings  and  dry-points 


windows.  The  butterfly,  shaded,  is  on  the  wall  at  the  left  of  the 
passage. 

Etching.  Height,  5 l/i  inches;  width,  8-ys  inches. 


398  HOTEL  LALLEMENT,  BOURGES.  (Sup.  331.)  The  corner 
of  a paved  courtyard,  from  which,  at  the  right,  steps  lead  to  a 
renaissance  doorway,  below  a richly  encased  double  window. 
Over  the  doorway  is  a portrait-medallion,  and  on  the  wall  at  the 
left  are  three  larger  portrait-medallions  and  traces  of  a doorway 
which  has  been  filled  in.  High  in  the  angle  of  the  walls  appears 
the  ornamented  base  of  an  oriel  window.  Out  in  the  courtyard, 
near  the  center,  stands  a young  woman  with  a child  in  her  arms, 
and  back  of  her,  at  the  left,  a child  is  standing  near  a long  bench. 
At  the  right  are  four  fowls.  The  butterfly,  shaded,  is  on  the  wall 
at  the  left. 

Etching.  Height,  6yi  inches;  width,  10X  inches. 

First  State:  In  pure  etching.  There  is  a clear  space  between 
the  woman’s  feet. 

Buckingham  and  Freer  Collections. 

Second  State:  The  woman’s  feet  have  been  partly  erased. 
Short  dry-point  lines  are  added  below  the  etched  lines  shading 
the  upper  panel  of  the  door. 

Lathrop  Collection. 

Third  State:  The  woman’s  feet  have  been  redrawn  and  the 
space  between  them  is  filled  with  lines.  Short  dry-point  lines 
are  added  below  etched  lines  on  the  left  wall,  at  the  corner. 
Mansfield  Collection. 

Catalogued  in  the  Supplement  as  “Hotel  Allement.” 


399  WINDOWS,  BOURGES.  (Sup.  332.)  In  a wall  ornamented 
with  wooden  framework,  three  windows  appear:  In  the  mid- 
dle story,  a long  window  with  sashes  opening  inward;  above,  a 
window  with  flower-pots  on  the  sill;  below,  at  the  left,  a small 


222 


whistler’s  etchings  and  dry-points 


window,  slightly  indicated.  The  butterfly,  shaded,  is  on  the  wall, 
at  the  left  of  the  highest  window. 

Etching.  Height,  5 % inches;  width,  3 yi  inches. 

First  State:  There  are  two  lines  of  shading  in  the  right  half 
of  the  topmost  window,  and  there  is  but  slight  shading  be- 
tween the  partly-opened  sashes  of  the  long  window. 

Second  State:  There  is  strong  shading  throughout  the  right 
half  of  the  topmost  window  and  between  the  partly-opened 
sashes  of  the  long  window. 

400  WINDOWS  OPPOSITE  HOTEL,  BOURGES.  At  the  left  are 
two  windows,  one  above  the  other;  at  the  right,  in  a roof  with 
steep  slope,  is  a dormer-window,  below  which  two  windows  are 
slightly  indicated.  The  butterfly,  in  outline,  is  near  the  right 
edge  of  the  plate,  toward  the  bottom. 

Etching.  Height,  3 Y*.  inches;  width,  2^  inches. 

Freer  and  Mansfield  Collections. 

Catalogued  in  the  Supplement  (Sup.  333)  under  an  erroneous 
description. 

401  NOTRE  DAME,  BOURGES.  At  the  left,  on  an  uneven,  wind- 
ing street,  appears  part  of  a church,  showing  a large  gothic  portal 
with  stained  glass  in  the  upper  part  and  a small  open  doorway 
below;  the  whole  crowned  by  a renaissance  structure  with  sup- 
porting columns,  built  out  from  the  steep  roof.  At  the  left  of 
the  portal  is  a pointed  window  filled  with  stained  glass.  Rising 
from  the  roof  at  the  right  is  a small  spire.  Several  people  are  in 
the  street.  The  butterfly,  shaded,  is  on  the  roof,  at  the  left. 
Etching.  Height,  8$4  inches;  width,  5^  inches. 

Freer  and  Mansfield  Collections. 

402  STEPS,  AMSTERDAM.  (W.  260.)  Across  a pavement  sup- 
ported by  a bulkhead  bordering  a canal,  a broad  flight  of  steps 


223 


whistler’s  etchings  and  dry-points 


leads  to  three  adjoining  doorways,  between  large  square  windows, 
in  a wide  house.  In  the  story  above,  two  smaller  square  windows 
flank  a narrow  window  of  four  panes.  On  each  side  of  the  steps 
is  a doorway  opening  upon  the  pavement.  Clothes  are  hung  in 
front  of  the  lower  window  at  the  left  and  the  upper  window  at  the 
right.  A girl  with  her  back  turned  is  standing  in  front  of  the 
steps,  and  a woman  with  a child  in  her  arms  at  the  foot  of  the 
steps,  and  there  are  people  in  all  but  one  of  the  doorways.  There 
are  extensive  reflections  in  the  canal.  The  butterfly,  shaded,  is 
between  the  narrow  window  and  the  upper  window  at  the  left. 
Etching.  Height,  9X  inches;  width,  6lA  inches. 

First  State:  The  shading  in  the  doorways  is  comparatively 
open,  and  the  reflections  are  slight  and  indefinite. 

Vanderbilt  and  Wrenn  Collections. 

Second  State:  There  is  additional  shading  in  the  doorways, 
and  the  reflections  are  elaborated,  defining  the  bulkhead,  door- 
ways, windows  and  figures. 

Benedict  and  Freer  Collections. 

Third  State:  The  shading  in  all  the  doorways  is  uniformly 
dark.  Diagonal  lines  are  added  along  the  lower  edge  of  the 
plate,  at  the  right,  and  the  reflections  are  further  elaborated. 
Freer,  Fathrop,  and  Mansfield  Collections. 


403  SQUARE  HOUSE,  AMSTERDAM.  (W.  261.)  The  middle 
one  of  three  adjoining  houses,  all  flush  with  a bulkhead  bordering 
a canal,  shows  a recess  and  doorway  behind  palings  in  the  lowest 
story,  two  rows  of  small  adjacent  windows  in  the  brick  wall  above, 
and  two  large  windows  in  a third  story.  The  house  at  the  right 
has  a similar  recess,  below  upright  planking,  in  which  is  a small 
open  window,  under  a closed  window  of  four  panes,  above  which, 
in  the  center,  are  two  adjacent  windows.  A smaller  house  at  the 
left  shows  a door  open  on  the  canal,  and  two  square  windows  in 
the  second  story,  one  of  them  open,  and  two  long  windows  in  the 


whistler’s  etchings  and  dry-points 


third  story,  behind  a balcony.  Figures  are  seen  in  the  recesses 
and  open  windows.  There  are  extensive  reflections  in  the  canal. 
The  butterfly,  shaded,  is  on  the  building  at  the  right,  near  the 
upper  small  window. 

Etching.  Height,  9 inches;  width,  6^4  inches. 

First  State:  There  is  only  slight  shading  back  of  the  palings 
of  the  house  at  the  right,  and  in  the  open  windows  of  the  second 
story. 

Freer  and  Mansfield  Collections. 

Second  State:  Diagonal  lines,  running  from  left  to  right,  are 
added  within  the  recess  behind  the  palings  of  the  house  at  the 
right,  and  in  the  window  of  the  second  story.  The  shading  of 
the  open  window  and  the  doorway  of  the  house  at  the  extreme 
left  is  deepened.  There  are  lines  added  here  and  there  in  the 
reflections,  especially  below  the  wall  at  the  left. 

Lathrop  Collection. 


404  THE  BALCONY,  AMSTERDAM.  (W.  262.)  Above  the  broad 
doorway  of  a narrow  central  house  on  a canal,  a balcony  with 
iron  framework  projects  in  front  of  a narrow  open  doorway  and  a 
curtained  window.  At  the  left  is  a large  window,  above  a closed 
doorway,  and  at  the  right  there  are  three  windows.  Clothes  are 
hung  on  the  balcony-railing  and  on  a pole  suspended  above  the 
door  and  window.  In  the  lower  doorway  a man  is  standing  at 
the  right,  his  face  seen  above  a bar  crossing  the  doorway,  and  a 
woman  is  on  her  knees  at  the  left.  In  the  balcony  a woman  is 
leaning  upon  the  railing,  and  a woman  with  a child  in  her  arms 
is  standing  in  front  of  the  narrow  doorway.  There  are  extensive 
reflections  in  the  canal,  defining  somewhat  the  figures  in  the  lower 
doorway.  The  butterfly  is  on  the  lowest  window  at  the  right. 
Etching.  Height,  10 $4  inches;  width,  6%  inches. 

First  State:  The  walls  of  the  house  are  in  full  light,  and  there 
is  only  slight  shading  on  the  figures  in  the  lower  doorway  and 


225 


whistler’s  etchings  and  dry-points 

on  the  bar  across  it.  The  lower  panes  of  the  window  behind 
the  balcony  are  nearly  blank.  The  reflections  are  indicated 
by  comparatively  few  lines.  The  butterfly  is  in  outline. 
Lathrop  and  Wrenn  Collections. 

Second  State:  The  figure  of  the  man  in  the  lower  doorway  is 
considerably  shaded  and  the  bar  is  now  heavily  shaded.  Ad- 
ditional shading  of  the  interior  brings  both  figures  into  strong 
relief.  There  is  heavy  shading  on  the  lower  right-hand  pane  of 
the  balcony  window.  Dry-point  lines  are  added  here  and  there 
on  the  walls,  and  the  reflections  are  elaborated.  The  butterfly 
remains  in  outline. 

Dickerman  Collection. 

Third  State:  There  is  much  additional  shading  on  the  walls, 
especially  above  the  balcony  and  each  side  of  the  lower  door- 
way. The  butterfly  is  shaded. 

Freer  and  Mansfield  Collections. 


405  LITTLE  DRAWBRIDGE,  AMSTERDAM.  (W.  263.)  Span- 
ning a canal  is  a small  lifting-drawbridge  supported  upon  piles, 
beyond  which  are  trees  at  the  right,  and  buildings  seen  below 
projecting  branches  at  the  left.  In  the  center,  above  the  bridge, 
rises  a church  steeple.  Underneath  the  bridge,  boats  are  seen 
on  the  canal  and  trees  on  its  banks.  There  are  three  men,  a 
woman  and  a girl  on  the  bridge,  a woman  in  the  street  at  the 
left,  and  two  men  on  one  of  the  boats.  There  are  reflections  in 
the  canal  and  clouds  in  the  sky.  There  is  no  butterfly. 

Etching.  Height,  6%,  inches;  width,  5%  inches. 

406  PIERROT.  (W.  264.)  In  the  queer  dilapidated  basement  of  a 
building  on  a canal  there  is  a large  open  doorway  near  the  center. 
Three  posts  on  either  side  support  the  projecting  wall  of  the  story 
above.  Back  of  the  posts  at  the  left  is  a broad  window,  and  in 
the  story  above  is  a row  of  adjoining  windows.  In  the  doorway, 

226 


whistler’s  etchings  and  dry-points 


a boy  wearing  a long  apron  is  standing  at  the  right,  with  one 
hand  raised  to  a beam  above  his  head,  and  on  the  opposite  side  a 
woman  is  bending  over  the  water.  The  basement  and  figures  are 
reflected  in  the  canal. 

Etching.  Height,  gXe  inches;  width,  6%  inches. 

First  State:  The  woman’s  figure  is  faintly  indicated.  The 
interior  of  the  doorway  is  but  slightly  shaded.  The  reflections 
in  the  canal  are  few,  and  below  the  doorway  they  are  ex- 
pressed by  fine  horizontal  lines  and  by  three  curving  rows  of 
short  diagonal  lines.  There  is  no  butterfly. 

Vanderbilt  Collection. 

Second  State:  The  horizontal  lines  in  the  canal  below  the 
doorway  are  crossed  by  a number  of  vertical  lines.  There  is 
no  butterfly. 

Lathrop  Collection. 

Third  State:  The  interior  of  the  doorway  is  darkened,  and 
there  is  additional  work  throughout.  The  butterfly,  shaded, 
is  on  the  lower  part  of  the  projecting  story,  at  the  left. 
Benedict  Collection. 

Fourth  State:  The  woman’s  figure  is  strongly  drawn,  and 
there  is  additional  work  upon  the  figure  of  the  boy.  The  in- 
terior of  the  doorway  and  the  wall  space  behind  the  posts  at 
the  right  are  very  dark.  Horizontal  lines  are  added  on  the 
beam  immediately  above  the  doorway.  The  reflections  are 
much  elaborated. 

Freer  and  Mansfield  Collections. 

Fifth  State:  The  shading  within  the  doorway  is  further 
deepened,  and  there  is  additional  work  on  the  wall-space  be- 
hind the  supports  at  the  right  of  the  doorway,  obscuring  patches 
which  before  were  slightly  shaded. 

407  NOCTURNE:  DANCE  HOUSE,  AMSTERDAM.  (W.  265.) 
The  rays  of  a lantern  at  the  center  and  lights  from  many  windows 

227 


whistler’s  etchings  and  dry-points 


above  are  reflected  in  the  dark  waters  of  a canal.  There  is  no 
butterfly. 

Etching.  Height,  10%  inches;  width,  6$4  inches. 

First  State:  Figures  are  seen  through  the  lowest  window 
at  the  left.  The  rays  from  the  lantern  are  sharply  defined. 
Two  figures  vaguely  appear  outside  the  house,  at  the  left. 
Fathrop,  Mansfield,  and  Scholle  Collections. 

Second  State:  The  figures  in  the  window  have  been  almost 
wholly  burnished  out,  and  the  figures  outside  have  become 
obliterated.  The  rays  from  the  lantern  are  enlarged  and  less 
sharply  defined. 

Freer  and  Parsons  Collections. 


408  FONG  HOUSE,  AMSTERDAM.  (W.  266.)  On  a dilapidated 
bulkhead,  the  border  of  a canal,  is  a long  brick  building,  with 
irregular  windows  above,  and  a row  of  doorways  and  adjacent 
windows  below.  Near  the  center,  a shed  with  a single  window 
is  built  to  the  edge  of  the  bulkhead,  to  which,  on  either  hand, 
rude  palings  are  fastened.  A woman  is  standing  in  the  door- 
way at  the  left,  in  front  of  which  a woman  is  bending  over, 
cleaning  a basin.  A child  is  leaning  over  palings  at  the  right. 
There  are  extensive  reflections  in  the  canal.  The  butterfly, 
shaded,  is  on  the  lower  part  of  the  shed. 

Etching.  Height,  inches;  width,  10*4  inches. 

First  State:  At  the  left  of  the  child  leaning  over  the  palings 
a blank  space  is  noticeable.  The  reflections  are  only  slightly 
indicated. 

Freer  and  Vanderbilt  Collections. 

Second  State:  In  the  space  which  was  blank  stands  a woman 
with  a child  in  her  arms.  The  figure  of  the  woman  within  the 
doorway  at  the  left  is  more  defined.  There  is  additional  work 
on  the  long  building,  and  the  reflections  are  minutely  expressed. 
Benedict,  Freer,  and  Mansfield  Collections. 


whistler’s  etchings  and  dry-points 

409  BRIDGE,  AMSTERDAM.  (W.  267.)  A bridge  with  an  iron 
railing  spans  a wide  canal  in  which  are  two  supporting  piers. 
Beyond,  at  the  left  is  a row  of  houses  with  sloping  roofs,  and  at 
the  right  is  a large  warehouse.  In  the  distance,  gabled  houses 
and  a tall  frame  for  telegraph  wires  are  seen.  Several  people  are 
on  the  bridge.  There  are  extensive  reflections  in  the  canal. 
There  is  no  butterfly. 

Etching.  Height,  6%  inches;  width,  9 J{6  inches. 

First  State:  The  bridge-railing  is  incomplete  in  the  center 
and  at  the  right.  The  walls  and  roofs  of  the  houses  at  the 
left  have  scarcely  any  shading.  The  telegraph-frame  is  faintly 
indicated.  There  are  very  few  lines  below  the  reflections  of 
the  bridge. 

Freer,  Vanderbilt,  and  Wrenn  Collections. 

Second  State:  The  bridge-railing  is  complete  at  the  center 
and  for  some  distance  on  either  side.  The  telegraph-frame  is 
well  defined.  Diagonal  dry-point  lines  are  added  in  the  sky, 
and  extensively,  in  cross-hatching,  below  the  reflections  of  the 
bridge,  and  the  reflections  generally  are  strengthened. 

Lathrop  Collection. 

Third  State:  The  roofs  and  the  upper  part  of  the  walls  of  the 
houses  at  the  left  are  strongly  shaded. 

Mansfield  Collection. 


410  THE  CHURCH,  AMSTERDAM.  (Sup.  355.)  At  the  left  of 
a bridge  spanning  a narrow  canal  where  it  joins  broad  water  in 
front,  is  a row  of  picturesque  buildings,  above  which  rises  an 
ornamented  church  steeple,  surmounted  by  a cock.  Upon  the 
bridge  and  in  front  of  the  nearest  building  are  several  figures. 
The  church  and  bridge  are  reflected  in  the  broad  water.  The 
butterfly,  in  outline,  is  in  the  sky,  at  the  right  of  the  steeple,  and 
is  reversed  in  the  water,  at  the  right  of  the  reflection  of  the  steeple. 
Etching.  Height,  8$4  inches;  width,  53^  inches. 


229 


whistler’s  etchings  and  dry-points 


41  i THE  LACE  CURTAIN.  (Sup.  356.)  Across  a cobblestone 
pavement  bordering  on  a canal  and  faced  by  a wooden  bulkhead, 
there  are  two  adjoining  house-fronts  of  similar  construction. 
Each  shows  two  doorways,  adjacent  to  a large  window  above 
windows  about  a doorway  opening  upon  the  pavement,  and  in 
each  second  story  is  a square  window  flanked  by  two  narrow 
windows.  Below  each  central  window  is  a square  placque,  and 
on  the  wall  at  the  left  is  a round  placque.  In  the  large  window 
at  the  right  and  in  the  window  over  the  adjacent  doorway  is  a 
curtain  with  a pattern.  In  the  upper  part  of  the  doorway  open- 
ing on  the  pavement  at  the  left  is  the  sign:  “Water  te  vuur.” 
There  are  children  on  the  pavement,  and  people  in  all  the  door- 
ways, except  the  doorway  at  the  extreme  right,  which  is  closed. 
Two  figures  appear  in  an  open  window  at  the  right.  There  are 
extensive  reflections  in  the  canal.  The  butterfly,  shaded,  is  on 
the  round  placque. 

Etching.  Height,  9 inches;  width,  6 % inches. 

First  State:  The  shading  in  the  open  doorway  at  the  right  is 
comparatively  slight.  There  are  a few  short  oblique  lines  be- 
tween the  legs  of  the  man  standing  within  the  doorway.  The 
features  of  the  girl  standing  near  the  steps  below  are  vaguely 
indicated,  and  her  frock  is  unshaded.  The  reflections  are  well 
defined,  although  slightly  expressed.  The  etching  in  the  up- 
per half  of  the  plate  does  not  fully  extend  to  the  right  edge. 
Lathrop  and  Simpson  Collections.  On  the  impression  in  the 
Simpson  Collection  Whistler  wrote:  “1st  proof  pulled,’’  and 
on  the  impression  in  the  Lathrop  Collection:  “2nd  proof 
pulled.” 

Second  State:  There  is  additional  shading  in  each  doorway. 
Short  diagonal  lines  between  the  legs  of  the  man  standing  in 
the  doorway  at  the  right  are  extended  to  his  feet.  The  features 
of  the  girl  standing  by  the  steps  below  are  more  defined,  and 
there  are  a few  lines  of  shading  on  her  frock.  The  bulkhead 
and  the  reflections  have  been  redrawn,  but  are  indistinct. 


230 


whistler’s  etchings  and  dry-points 

Third  State:  Shading  is  added  within  the  doorways  and  on 
the  bulkhead,  and  here  and  there,  in  patches,  in  the  reflec- 
tions. 

Wrenn  Collection. 

Fourth  State:  Fine  diagonal  lines,  running  from  right  to  left, 
are  added  between  the  legs  of  the  man  who  is  standing  in  the 
doorway  at  the  right.  The  features  of  the  girl  at  the  extreme 
right  have  been  redrawn.  Through  additional  work,  the  reflec- 
tions define  the  figure  of  the  girl  at  the  right  and  the  figure 
of  the  girl  with  a child  in  her  arms. 

Scholle  Collection. 

Fifth  State:  The  etching  in  the  upper  half  of  the  plate  is 
extended  to  the  right  edge.  The  reflections  have  been  re- 
drawn, but  are  confused. 

Sixth  State:  Long  vertical  lines  are  added  between  the  legs 
of  the  man  who  stands  in  the  doorway  at  the  right.  Short 
diagonal  lines  cross  earlier  short  lines  at  the  left  of  the  child, 
faintly  indicated,  on  the  steps  below  the  doorway  at  the  ex- 
treme right.  The  bulkhead  has  been  redrawn  and  shows 
clear  spaces  between  the  supporting  timbers.  The  reflec- 
tions have  been  redrawn  throughout,  and  are  fairly  distinct. 
Mansfield  Collection. 

Seventh  State:  Spaces  in  the  reflections,  especially  at  the  left, 
have  been  to  a considerable  extent  burnished  out.  Through 
additional  work  in  dry-point  the  reflections  of  the  lower  door- 
ways and  of  the  figures  of  the  two  girls  are  more  defined. 
Benedict  Collection. 

Catalogued  in  the  Supplement  as  “The  Embroidered  Curtain.” 

412  JEWS’  QUARTER,  AMSTERDAM.  (Sup.  357.)  At  the  left, 
in  a canal,  a long  boat  is  moored  to  a wooden  bulkhead  abutting 
on  a pavement  across  which  are  seen  the  lower  stories  of  a row 
of  houses.  Each  house  has  two  adjoining  doorways  approached 


231 


whistler’s  etchings  and  dry-points 


by  steps,  with  a small  window  above  each  door  and  a large  win- 
dow at  the  side,  below  which  are  windows  about  a doorway  open- 
ing on  the  pavement.  In  the  doorways  and  about  the  pavement 
are  numerous  figures,  some  merely  suggested  in  spaces  left  almost 
blank.  There  is  no  butterfly. 

Etching.  Height,  5 y%  inches;  width,  8 $4  inches. 

Caldwell  and  Lathrop  Collections. 

413  LITTLE  NOCTURNE,  AMSTERDAM.  (Sup.  359.)  Three 
women,  two  men  and  a child  are  standing  on  a narrow  bridge 
leading  from  a small  house  at  the  right  over  a stretch  of  water, 
in  which  the  house,  bridge  and  figures  are  reflected.  Number- 
less fine  lines  produce  an  evening  effect.  There  is  no  butterfly. 
Dry-point.  Height,  5X  inches;  width,  3%  inches. 

Freer  and  Mansfield  Collections.  The  impressions  in  these  col- 
lections are  thought  to  be  the  only  impressions  from  the  plate. 

414  ZAANDAM.  (W.  268.)  In  front  is  a canal,  at  the  border  of 
which  two  flat-bottomed  boats  are  moored.  Beyond  is  a wide 
stretch  of  meadows.  In  the  distance  is  a long  line  of  windmills, 
under  a cloudy  sky.  The  butterfly,  in  outline,  is  at  the  left, 
near  the  top  of  the  plate. 

Etching.  Height,  5 yi  inches;  width,  8^i  inches. 

First  State:  In  pure  etching  throughout. 

Mansfield  Collection.  On  the  impression  in  this  collection 
Whistler  wrote:  “ 1st  proof  pulled.” 

Second  State:  The  clouds  are  extended  and  softened  by 
extensive  use  of  the  dry-point. 

415  THE  MILL.  (Sup.  358.)  The  interior  of  a flour-mill,  with  tim- 
bered supports,  well  braced,  upholding  the  beams  of  the  ceiling. 
At  the  right,  near  a window,  beyond  sacks  piled  up,  two  men  are 
seated.  Through  a large  doorway  at  the  left,  opening  upon  a 


232 


whistler’s  etchings  and  dry-points 

wide  expanse  of  meadows,  three  windmills  are  seen.  The  butter- 
fly, shaded,  is  below  the  middle  of  the  plate,  on  a wall  at  the  left. 
Etching.  Height,  6 X inches;  width,  9^  inches. 

First  State:  There  is  almost  no  shading  on  the  floor.  There 
are  but  few  lines  on  the  wall  and  supports  at  the  left.  The 
windmills  are  nearly  white,  and  clouds  are  suggested  by  out- 
lines and  very  slight  shading. 

Freer  Collection. 

Second  State:  Fine  dry-point  lines  are  added  on  the  upper 
part  of  the  post  at  the  right,  and  on  the  wall  and  supports  at 
the  left.  The  aspect  of  the  more  prominent  figure  is  changed. 
The  shading  of  the  clouds  has  been  removed. 

Dickerman  Collection. 

Third  State:  The  windmills  are  shaded.  Light  clouds  are 
indicated  by  fine  diagonal  lines  in  dry-point,  running  from 
right  to  left. 

Avery  Collection. 

Fourth  State:  The  floor  is  shaded  at  the  right  with  numer- 
ous lines,  and  there  is  much  additional  work  throughout  the 
shading  of  the  interior.  The  sky  is  heavily  clouded. 

Lathrop  and  Mansfield  Collections. 


416  CARPET-MENDERS.  (W.257.)  Within  a high  open  doorway, 
between  long  windows  of  unequal  width,  three  women  are  seated, 
mending  a carpet.  Through  the  window-panes  at  the  left  a 
woman  is  seen,  apparently  sewing.  The  window  at  the  right  is 
curtained.  The  butterfly,  shaded,  is  on  the  wall  at  the  extreme 
left,  below  the  middle  of  the  plate. 

Etching.  Height,  7 inches;  width,  9^  inches. 

Mansfield  Collection. 

This  etching  and  nearly  all  of  the  etchings  further  catalogued 
were  done  in  Paris.  Some  of  these  Paris  etchings  were  begun 
in  1892,  and  all  were  probably  finished  by  1895. 


233 


whistler’s  etchings  and  dry-points 


417  SUNFLOWERS,  RUE  DES  BEAUX-ARTS.  (W.  258.) 

Under  two  large  round  arches  are  doorways  of  unequal  dimen- 
sions, opening  into  shops.  In  the  upper  part  of  each  arch  are 
sunflowers,  planted  in  boxes.  Upon  the  sidewalk,  between  the 
doorways,  are  tiers  of  baskets  apparently  filled  with  vegetables. 
Within  the  shop  at  the  left  two  men  are  standing,  and  in  front, 
near  a group  of  children,  a woman  stands  with  her  back  turned 
and  lifting  a shawl  about  her  shoulders.  Within  the  doorway 
at  the  right  a lamp-shade  is  visible.  A woman  is  seen  with- 
in an  adjoining  window,  in  front  of  which  stands  a girl  with 
her  back  turned.  Near  her  stands  a girl,  faintly  outlined.  On 
a sign  above  there  appears  the  number  “ 1801.”  The  butterfly, 
shaded,  is  on  the  wall,  between  the  arches. 

Etching.  Height,  8 % inches;  width,  1 1%  inches. 

First  State:  One  of  the  men  within  the  shop  at  the  left  is  ' 
scarcely  indicated.  The  space  below  the  lamp-shade  in  the 
doorway  at  the  right  is  nearly  all  blank.  The  form  of  the 
butterfly  suggests  a face. 

Lathrop  Collection. 

Second  State:  The  face  and  the  figure  of  the  second  man 
within  the  shop  at  the  left  are  defined,  and  there  is  additional 
work  on  all  the  figures  about  the  doorway.  The  interior  is  al- 
most uniformly  shaded.  Shading  by  both  vertical  and  diagonal 
lines  is  added  within  the  other  shop,  below  the  lamp-shade. 
Horizontal  lines  are  added  on  the  middle  and  left  pilasters  and 
on  the  signs.  Shading  is  added  on  both  the  arches.  Shading 
between  the  arches  obscures  the  butterfly,  the  form  of  which 
is  changed.  Work  is  added  here  and  there  throughout  the 
plate. 

Mansfield  Collection. 

418  BOULEVARD  POISSONNIERE.  (Sup.  315.)  In  front, at  the 
right,  five  men  are  seated  on  a double  bench  in  a boulevard  lined 
with  trees.  Across  the  boulevard,  at  the  right  is  a row  of  shops 


234 


whistler’s  etchings  and  dry-points 

under  a long  balcony,  and  at  the  left  is  a large  building  with 
round-arched  windows  and  an  awning.  Some  people  are  seated 
on  a bench  under  the  farther  trees,  and  others  are  standing  on  the 
pavement  in  the  background.  There  is  no  butterfly. 

Etching.  Height,  6%  inches;  width,  gy6  inches. 

Freer  and  Mansfield  Collections. 

419  LUXEMBOURG  GARDENS.  There  are  plants  in  the  fore- 
ground, and  shrubs  and  trees  beyond.  In  the  distance,  near 
the  center,  rises  the  dome  of  the  Pantheon,  and  at  the  left  are 
other  buildings,  seen  above  tree-tops.  A dark  figure  is  standing 
near  the  center,  and  there  are  figures  beyond,  on  either  side. 
A butterfly,  heavily  shaded,  is  at  the  left,  near  the  bottom  of  the 
plate,  and  a butterfly,  lightly  shaded,  is  above  the  middle  of  the 
plate,  near  the  right  edge. 

Etching.  Height,  3X  inches;  width,  inches. 

Freer  Collection. 

420  BEBES,  LUXEMBOURG  GARDENS.  (Sup.  313.)  Seated 
on  a bench  in  the  foreground  are  two  women,  in  front  of  whom  a 
child  is  seated  on  a chair.  At  a little  distance  a woman  is  stand- 
ing, and  beyond  her  is  a woman  bending  over.  At  the  right, 
two  women,  with  a child  in  front  of  them,  are  seated  near  a box 
in  which  a tree  is  growing.  Farther  away  are  other  women  and 
children  and  numerous  boxes  with  trees,  and  in  the  background 
is  a mass  of  foliage  behind  a balustrade.  The  butterfly,  partly 
shaded,  is  on  the  tree-box  at  the  right. 

Etching.  Height,  6y&  inches;  width,  4%  inches. 

Mansfield  and  Wrenn  Collections.  On  the  impression  in  the 
Mansfield  Collection  Whistler  wrote:  “ Bebes,  Luxembourg.” 
Catalogued  in  the  Supplement  as  “ Jardins  de  Luxembourg.” 

421  TERRACE,  LUXEMBOURG  GARDENS.  No.  1.  (Sup.  314.) 
Here  and  there,  on  a terrace  bounded  by  a balustrade,  women  and 

237 


whistler’s  etchings  and  dry-points 

children  are  seated  in  chairs,  and  at  the  right  a woman  is  stand- 
ing, leaning  over  the  balustrade.  In  a box  on  the  terrace  is  a 
growing  palm  and  on  the  balustrade  are  large  urns.  Beyond 
are  trees,  above  which,  in  the  distance,  rises  the  dome  of  the 
Pantheon.  The  butterfly,  shaded,  is  toward  the  right  lower  corner. 
Etching.  Height,  4 % inches;  width,  6J4  inches. 

TERRACE,  LUXEMBOURG  GARDENS.  No.  2.  On  a ter- 
race bounded  by  a balustrade,  a lady  wearing  a hat  sits  facing  to 
the  left,  near  a woman,  also  seated,  wearing  a cap  and  facing  front. 
Near  them  stands  a child  wearing  a broad-brimmed  hat.  Farther 
at  the  left  two  women  are  seated  by  the  balustrade.  On  the  balus- 
trade are  two  large  vases  with  growing  plants,  and  at  the  end 
there  is  a pedestal  on  which  stand  sculptured  figures  upholding 
a jardiniere.  Beyond  the  balustrade  are  three  trees;  at  the  right 
is  a statue  with  uplifted  hand,  and  at  the  extreme  left  is  a statue. 
There  is  no  butterfly. 

Etching.  Height,  4T6  inches;  width,  8^4  inches. 

Freer  and  Parsons  Collections. 

TERRACE,  LUXEMBOURG  GARDENS.  No.  3.  On  a ter- 
race bounded  by  a balustrade,  four  women  are  seated  in  a group 
near  the  center,  and  at  the  left  two  women,  opposite  each  other. 
The  balustrade  ends  at  the  right  with  a pedestal  on  which  stand 
two  sculptured  figures  upholding  a huge  bowl  containing  plants. 
On  the  balustrade,  near  the  center,  there  is  a garden-vase.  Be- 
yond are  trees.  The  butterfly,  shaded,  is  above  the  balustrade, 
near  the  left  edge  of  the  plate. 

Etching.  Height,  5 inches;  width,  7 inches. 

Freer  Collection. 

POLICH1NELLE,  LUXEMBOURG  GARDENS.  In  the  mid- 
dle distance,  toward  the  right,  two  women  are  seated  near  the 
base  of  a statue,  and  farther  to  the  right  two  others,  with  their 

236 


whistler’s  etchings  and  dry-points 


faces  turned  away,  are  seated  on  a park-bench.  Toward  the  left 
is  a woman  with  a baby,  and  farther  to  the  left  are  two  women, 
one  of  whom  is  seated.  In  the  distance  are  trees,  among  which, 
at  the  left,  a large  group  of  people  is  gathered  in  front  of  a Punch- 
and-Judy  show.  There  is  no  butterfly. 

Etching.  Height,  inches;  width,  6 X inches. 

Freer  Collection. 

425  CAFE  FUXEMBOURG.  Under  a long  awning,  there  are  chairs 
and  tables  on  the  pavement  in  front  of  a cafe.  Crossing  the  street 
are  four  saddled  horses,  and  a man  leading  one  of  them.  On  the 
awning  is  a sign  which  shows:  “ Billiards”  and  “Cafe,”  besides 
other  lettering  obscured.  Above  the  awning  is  a row  of  windows 
behind  iron  railings.  At  the  left  is  a broad  archway.  People 
are  seated  at  the  tables  and  near  the  archway.  On  the  pavement, 
at  the  right  is  a dog,  and  farther  away,  at  the  very  edge,  a 
woman  is  standing  with  a child  in  her  arms.  The  butterfly, 
shaded,  is  on  the  wall,  above  the  left  end  of  the  awning. 
Etching.  Height,  3 $4  inches;  width,  5 X inches. 

Freer  Collection. 

426  NEWSPAPER-STALL,  RUE  DE  SEINE.  Of  two  contigu- 
ous shops  the  one  at  the  right  is  a newspaper-stall.  In  its  open 
doorway  two  women  are  standing,  with  a dog  seated  at  their 
feet.  Within  the  shop  a woman  is  seated  at  the  open  window, 
in  front  of  which  stands  a man  apparently  making  a purchase. 
On  the  outer  wall  are  copies  of  several  journals,  including  “Gil 
Bias.”  In  front  of  the  doorway  of  the  second  shop  two  women 
are  standing,  one  with  a basket  on  her  arm,  and  near  them  is  a 
large  dog.  At  the  extreme  right  is  a third  open  doorway.  The 
butterfly,  shaded,  is  on  the  opened  door  of  the  newspaper-stall. 
Etching.  Height,  3 % inches;  width,  7^  inches. 

First  State:  Two  boys  and  a woman  with  a child  by  her  side 

are  looking  at  the  journals  on  the  wall.  Within  the  doorway 


whistler’s  etchings  and  dry-points 

of  the  shop  at  the  left  a woman  is  standing  with  arms  akimbo. 
At  the  left  of  this  doorway  there  is  heavy  shading. 

Freer  and  Mansfield  Collections. 

Second  State  : The  shading  at  the  left,  the  figure  of  the  woman 
in  the  adjacent  doorway,  and  the  group  looking  at  the  journals 
on  the  wall  have  been  burnished  out. 


427  FRUIT-SHOP,  RUE  DE  SEINE.  There  are  fruits  displayed  in 
front  of  a wall,  on  two  projecting  shelves  at  the  left  of  an  open 
doorway  and  on  a single  shelf  at  the  right.  In  front  of  the  door- 
way stands  a woman  facing  to  the  left,  holding  a satchel  in  her 
left  hand,  and  in  front  of  the  shelf  at  the  right  stands  a woman 
with  her  back  turned.  Within  the  doorway  are  seen  the  head 
of  a woman  who  is  seated  and  the  head  of  a man  who  is  stand- 
ing. On  the  wall,  at  the  left,  is  a placard  with  the  name:  “J.  J. 
Greuze.”  The  butterfly,  shaded,  is  on  the  wall,  at  the  right. 
Etching.  Height,  4%  inches;  width,  8K  inches. 

Freer  and  Mansfield  Collections. 

428  PICTURE-SHOP,  RUE  DE  SEINE.  At  the  left  of  a wide 
passageway  is  a shop  with  open  doorway  between  large  show- 
windows.  In  the  window  at  the  right,  and  on  the  wall,  pictures 
are  displayed.  The  lower  portions  of  the  doorway  and  show- 
windows  are  not  expressed  in  detail.  Over  the  shop  is  the  sign: 
“Antony,”  below  two  large  windows,  both  with  opened  shutters. 
A woman  is  standing  in  the  passageway,  and  a woman  with 
back  turned  and  arms  akimbo  stands  looking  at  the  pictures. 
A dog  is  near  the  doorway.  There  is  no  butterfly. 

Etching.  Height,  5%  inches;  width,  7^  inches. 

Freer  and  Mansfield  Collections. 

429  MARCHAND  DE  VIN.  A shop-front  with  continuous  windows 
on  each  side  of  an  open  doorway  extends  from  a street-corner 

238 


whistler’s  etchings  and  dry-points 


at  the  left  to  a closed  doorway  at  the  right.  Over  the  shop  are 
indistinct  signs,  and  in  one  of  the  windows  at  the  left  “Cidre”  is 
advertised.  Beyond  a lamp-post  on  the  corner  there  appears  the 
sign : “ Rue  Mazarine.”  Two  figures,  standing  below  a lamp,  are 
seen  within  the  central  doorway.  A large  dog  is  lying  on  the  pave- 
ment in  front  of  the  windows  at  the  right,  and  a small  dog  sits 
in  front  of  the  central  doorway.  The  butterfly,  in  outline,  is  at 
the  left  of  the  closed  doorway. 

Etching.  Height,  3%  inches;  width,  -jli  inches. 

Freer  and  Mansfield  Collections. 

430  ATELIER  DE  BIJOUTERIE.  In  the  center,  below  a huge 
sign  bearing  indistinct  lettering,  there  is  a broad  opening  with  a 
round  arch,  in  a massive  stone  building.  Within  the  arch  is  seen 
the  lower  part  of  an  open  mezzanine-window  with  a balcony. 
Above  a heavily  barred  window  is  a sign  reading:  “Atelier  de 
Bijouterie.”  Below  there  is  a small  barred  window,  opening 
on  a level  with  the  pavement.  At  the  right  are  two  adjoining 
doorways,  one  of  them  open,  above  which  is  a sign  with  “Saget” 
and  other  lettering.  At  the  left  is  a flower-stand,  with  tubs  on 
the  pavement.  A boy  stands  at  the  right  of  the  large  barred 
window;  there  are  people  about  the  open  doorway  and  the  flower- 
stand,  and  a woman  and  child  are  in  the  open  window.  There  is 
no  butterfly. 

Etching.  Height,  5 inches;  width,  8 % inches. 

Freer  and  Mansfield  Collections. 

431  MARCHAND  DE  MEUBLES,  RUE  DU  FOUR.  The  front  of 
a furniture  shop,  at  the  corner  of  a street.  In  the  center  there  is  a 
doorway,  with  a window  on  either  side,  below  awnings  above 
which  there  are  two  large  windows.  Upon  the  sidewalk  various 
articles  of  furniture  are  heaped;  between  the  windows  above  the 
awnings  pictures  and  mirrors  are  hung;  in  the  lower  window  at 
the  left  are  numerous  jars.  Above  the  lower  window  at  the  right, 

239 


WHISTLERS  ETCHINGS  AND  DRY-POINTS 


on  a sign  hanging  obliquely,  appear,  besides  indistinct  lettering, 
the  words:  “Achats  de  Meubles — Achats  d’Agencement  Prive.” 
At  the  extreme  right,  figures  of  a man  and  a woman  are  slightly 
indicated.  There  is  no  butterfly. 

Etching.  Height,  8 inches;  width,  1 1 inches. 

Exhibited  in  the  Exposition  des  CEuvres  de  James  McNeill  Whist- 
ler, at  the  Palais  de  l’Ecole  des  Beaux-Arts,  Paris,  in  1905. 


432  CAFE  CORAZZA,  PALAIS  ROYAL.  Near  the  center  is  a large 
doorway  between  windows.  In  each  of  the  windows,  near  the 
top,  appears  a part  of  the  sign:  “Corazza.”  In  front,  on  each  side 
of  the  doorway,  is  a slender  tree.  The  plate  has  no  butterfly. 
Etching.  Height,  8^8  inches;  width,  5 yi  inches. 

Freer  Collection.  On  the  impression  in  this  collection  the  but- 
terfly, in  pencil,  is  within  the  plate-mark,  at  the  right. 

433  BLANCH ISSERIE.  Within  the  open  doorway  of  the  laundry 
are  three  women  and  a child,  standing  about  a table.  Above 
them  there  hangs  a large  bird-cage.  Beyond  them  appears  a 
lamp.  Over  the  doorway  there  is  the  sign : “Mme.  Pelletier,”  and 
above  that,  the  sign:  “ Blanchisserie.”  The  butterfly,  shaded, 
is  near  the  right  edge  of  the  plate. 

Etching.  Height,  7 inches;  width,  6 inches. 

Freer  Collection. 

434  RUE  VAUVILLIERS  Behind  a tall  iron  railing  is  a house- 
front,  with  a small  window  on  either  side  of  the  doorway  and 
two  large  windows  in  each  of  three  stories  above.  Both  of  the 
second-story  windows  are  partly  open,  and  one  of  the  third- 
story  windows  is  wide  open,  and  there  are  flowers  in  boxes  in 
front  of  the  windows  of  the  fourth  story.  There  are  faint  sug- 
gestions of  a woman  standing  in  front  of  the  window  at  the  left 
of  the  doorway,  and  of  a woman  seated  at  the  open  window. 


2 40 


whistler’s  etchings  and  dry-points 

In  the  street,  a dog  at  the  right  and  two  dogs  at  the  left  are 
slightly  indicated.  The  butterfly,  shaded,  is  at  the  left  of  the 
second-story  windows,  three-quarters  of  an  inch  from  the  edge 
of  the  plate. 

Etching.  Height,  8^  inches;  width,  5 yi  inches. 

Freer  Collection. 


435  STREET  SCENE.  A view  of  a street  with  a large  three-storied 
house  at  the  right. 

Etching.  Height,  5 inches;  width,  3K  inches. 

Freer  Collection. 

436  THE  DRAY-HORSE.  A horse  and  dray  stand  in  front  of  a 
corner  house,  three  stories  of  which  are  seen.  Two  women  are 
standing  at  the  right,  near  the  dray.  The  butterfly,  in  outline, 
is  half  way  up  the  plate,  near  the  right  edge. 

Etching.  Height,  3X  inches;  width,  2 inches. 

Caldwell  and  Freer  Collections. 

Mr.  Pennell  says  that  this  was  etched  at  St.  Germain,  in  1893. 

437  THE  BEARSKIN.  A young  woman  wearing  a high  hat,  re- 
sembling a “Bearskin,”  sits  turned  toward  the  right,  but  facing 
almost  front.  The  butterfly,  in  outline,  is  half  way  up  the  plate, 
at  the  right. 

Etching.  Height,  inches;  width,  5 inches. 

Exhibited  at  the  Palais  de  l’Ecole  des  Beaux-Arts,  Paris,  in  1905, 
under  the  title:  “Le  Bonnet  a Poil.” 

438  MRS.  WH1BLEY.  A delicately  sketched  portrait  of  Mrs. 
Charles  Whibley,  a sister  of  Mrs.  Whistler. 

Etching.  Height,  3 inches;  width,  2l/%  inches. 

Freer  Collection. 


241 


4 


whistler’s  etchings  and  dry-points 


439  THE  MARKET,  CAEAIS.  Wares  are  displayed  on  boards 
placed  upon  trestles  at  two  stalls  in  a market-place.  In  front  of 
the  stall  at  the  right,  a boy  and  girl  are  standing  near  a woman 
with  a basket  on  her  arm,  all  three  with  backs  turned.  Facing 
them  is  a woman  standing  with  arms  akimbo,  and  at  her  right 
appears  the  head  of  a boy.  At  the  extreme  right  a girl  is  slightly 
indicated.  Near  the  other  stall  a woman  stands  with  her  back 
turned,  and  at  the  extreme  left  a woman  is  faintly  outlined.  In 
the  background  a woman  is  standing  and  three  or  four  people 
are  seated.  The  butterfly,  in  outline,  is  at  the  left,  near  the 
bottom  of  the  plate. 

Etching.  Height,  3%  inches;  width,  5X  inches. 

Mansfield  Collection. 

Mrs.  Pennell  thinks  that  this  etching  was  done  in  September,  1 896. 

440  BOHEMIANS,  CORSICA.  (Sup.  360.)  Within  an  open  door- 
way, an  old  woman  is  standing  at  the  left  and  a young  girl  at  the 
right.  The  butterfly,  shaded,  is  near  the  right  edge  of  the  plate, 
above  the  girl’s  head. 

Etching.  Height,  3%  inches;  width,  2X0  inches. 

Caldwell,  Freer,  and  Lathrop  Collections.  On  the  impression  in 
the  Lathrop  Collection  Whistler  wrote:  “Bohemians.” 

Also  known  as  “Hole  in  the  Wall,  Ajaccio.” 

This  etching  was  done  in  Corsica  in  the  winter  of  1900-1. 


242 


APPENDIX 


The  prints  described  in  this  appendix  have  been  purposely  omit- 
ted from  the  foregoing  catalogue.  The  first  does  not  properly  fall  with- 
in the  category  of  etchings,  although  probably  Whistler’s  first  essay  at 
etching,  and  is  from  a plate  upon  which  the  work  of  other  engravers 
appears.  The  second,  although  attributed  to  Whistler,  is  regarded 
by  the  compiler  as  a print  of  doubtful  authenticity.  The  third,  be- 
sides bearing  the  name  of  Haden  as  well  as  that  of  Whistler — -both 
names  having  apparently  been  placed  on  the  plate  by  Haden — seems 
to  be  almost  totally  lacking  in  work  characteristic  of  Whistler.  While 
the  composition  of  the  others  is  by  Whistler,  the  plates  were  bitten  by 
different  etchers,  and  no  impression  was  taken  from  them  in  Whistler’s 
lifetime. 

I ANACAPA  ISLAND.  Enclosed  within  engraved  lines,  above 
which  appears  “No.  414,”  are  a map  of  “Anacapa  Island,’’ 
showing  a rocky  surface,  and  an  etched  “View  of  the  Eastern 
Extremity  of  Anacapa  Island — from  the  Southward,”  show- 
ing high  bluffs  rising  from  the  sea  and,  at  the  right,  three  de- 
tached rocks,  through  the  larger  of  which  is  a wide  opening. 
Numerous  birds  appear  in  flight  above  the  bluffs  and  out  at 
sea.  Within  the  enclosing  lines  are  these  inscriptions:  “U.  S. 
Coast  Survey.  A.  D.  Bache,  Supdt.,  Sketch  of  Anacapa  Is- 
land in  Santa  Barbara  Channel.  By  Lieut.  T.  H.  Stevens, 
U.  S.  N.  Assist.  U.  S.  C.  S.  1854,”  and  “Note.  Anacapa  Is- 
land is  due  East  of  Santa  Cruz  Island  in  (approx.)  Lat.  340  00'  and 
Long.  1 1 90  23'  W.  from  Greenwich  Observatory.  Variation 
of  the  Magnetic  Needle,  130  21'  E.”  An  arrow  indicates  “Mag- 


245 


APPENDIX 


netic  Meridian.”  Below  the  border,  at  the  left:  “Dr“g  by  W. 
B.  McMurtie”;  at  the  right:  “Eng8  by  J.  A.  Whistler,  J.  Young 
& C.  A.  Knight.” 

Height  of  plate,  io i/i  inches;  width,  i inches. 

Height  of  outer  enclosing  lines,  5%  inches;  width,  9%  inches. 
Height  of  inner  enclosing  lines,  5%  inches;  width,  9%  inches. 
Mansfield  Collection. 

The  “View  of  the  Eastern  Extremity  of  Anacapa  Island — 
from  the  Southward”  was  etched  by  Whistler. 

The  plate,  which  has  never  been  electrotyped,  is  in  the  pos- 
session of  the  United  States  Coast  and  Geodetic  Survey  at  Wash- 
ington. 

A lithographic  copy  from  this  plate,  taken  through  the  use 
of  transfer  paper,  was  published  on  the  same  sheet  with  a map 
of  a “Reconnaissance  of  Smith’s  or  Blunt’s  Island,  Washing- 
ton,” bearing,  at  the  right,  above  the  border  enclosing  both 
maps:  “Lith.  Bien  & Sterner,  N.  Y.,”  in  the  “Report  of  the 
Superintendent  of  the  Coast  Survey,  showing  the  Progress  of 
the  Survey  during  the  year  1854,”  issued  as  a “Senate  Docu- 
ment”— Washington:  Beverley  Tucker,  Public  Printer,  1855. 
The  “View  of  the  Eastern  Extremity  of  Anacapa  Island — from 
the  Southward”  was  copied,  with  variations  of  line  and  ad- 
ditions of  clouds  in  the  sky  and  shadows  in  the  water,  but  with 
the  same  title,  on  a government  chart  of  “Anacapa  Island  and 
East  End  of  Santa  Cruz  Island,  California,”  published  in  1857, 
and  republished,  on  the  same  sheet  with  other  charts,  in  1896. 


11  PORTRAIT  OF  A LADY.  The  head  and  shoulders  of  a lady 
facing  to  the  right,  with  head  slightly  bowed.  Her  hair,  brushed 
back  flat  above  her  ears,  is  gathered  in  a knot  behind.  There 
is  no  signature. 

Etching.  Height,  5X  inches;  width,  3^  inches. 

If  done  by  Whistler,  a very  early  etching;  possibly  a portrait  of 
Mrs.  Francis  Seymour  Haden. 

246 


APPENDIX 


III  THE  WOOD.  Opening  from  the  right  into  a wood  cleared  of 
undergrowth,  is  a broad  path  in  which  stands  a girl  facing  front, 
wearing  a hat  and  long  cloak  and  full  skirt.  In  the  foreground 
at  the  left,  the  trunks  of  two  tall  trees,  the  limbs  of  which  bear 
scanty  foliage,  cross  each  other.  At  the  right  and  in  the  dis- 
tance appear  the  trunks  of  numerous  trees  with  limbs  and  foliage 
only  slightly  indicated.  The  girl’s  figure  shows  signs  of  having 
been  redrawn.  Near  the  bottom  of  the  plate,  at  the  right,  in 
reverse:  “J.  A.  Whistler  and  F.  S.  Haden.” 

Etching.  Height,  7^8  inches;  width,  4^  inches. 

Benedict  Collection. 

Probably  done  in  Greenwich  Park  at  the  same  time  as  Whistler’s 
“Greenwich  Park”  and  “Greenwich  Pensioner”  and  Haden’s 
“Sub-Tegmine.” 

IV  FITZROY  SQUARE.  At  the  right,  across  a broad  open  space 
and  within  a curving  enclosure  of  iron  palings,  are  two  tall  leaf- 
less trees.  Beyond  is  a large  mansion  behind  iron  palings,  on 
the  corner  of  a street.  On  the  opposite  side  of  the  street  are 
houses  slightly  indicated.  There  are  suggestions  of  two  figures 
in  the  open  space  in  front,  and  of  other  figures  beyond,  and  of  a 
covered  vehicle  and  of  a hand-cart  near  the  houses  on  the  left. 
The  butterfly,  shaded,  is  near  the  left  edge  of  the  plate,  an  inch 
from  the  bottom. 

Etching.  Height,  5 inches;  width,  3 inches. 

Mansfield  Collection. 

The  drawing  on  the  plate  was  done  by  Whistler,  possibly  as  early 
as  1886,  but  the  biting  was  done,  after  Whistler’s  death,  by  Mr. 
Frank  Short,  by  whom  the  impression  in  the  Mansfield  Collection 
was  printed. 

V  ROBERT  BARR.  A portrait  showing  the  head  and  shoulders 
of  a man  of  middle  age,  with  a drooping  moustache  and  a full 
beard  and  wearing  a large  soft  hat.  The  head  is  turned  slightly 

247 


APPENDIX 


to  the  right  and  the  shoulders  are  merely  indicated.  The 
plate  is  unsigned. 

Etching.  Height,  4^  inches;  width,  3X  inches. 

The  drawing  on  this  plate  is  said  to  have  been  done  by  Whistler 
at  13  Robert  Street,  Cumberland  Market,  London,  in  1894. 
The  plate  then  passed  into  the  possession  of  Mr.  Walter  Sickert, 
and  was  bitten  by  him  after  Whistler’s  death.  The  plate  was 
destroyed  after  an  edition,  limited  to  forty-five  impressions, 
printed  by  Brooker  and  certified  by  Mr.  Sickert,  had  been  pub- 
lished in  London,  in  1908,  by  Messrs.  John  Baillie  and  W.  D. 
Gardiner. 


248 


INDEX 

TITLE  NUMBER  PAGE 

Abbey  Jubilee  - --  -- 326  197 

“Adam  and  Eve,”  The,  Old  Chelsea  ------  172  109 

After  the  Sale,  Houndsditch - - - 289  186 

Agnes  - --  --  --  --  --  --  --  --  132  81 

Agnes  Sorel’s  Walk,  From 385  217 

Alderney  Street  - --  --  --  --  --  --  236  163 

Alexander,  Miss -------  137  84 

Amsterdam  - - - - 91  57 

Anacapa  Island,  - --  --  --  --  --  --  Ap.  I 245 

Annie  - - - - - 8 6 

Annie  Haden  (Annie  with  Books)  - --  --  --  10  7 

Annie  Haden  - --  --  --  --  --  --  - 62  40 

Annie,  Seated  - --  --  --  - - 29  19 

Annie  with  Books 10  7 

Archway,  Brussels ------  - 36!  207 

Arthur  Haden  - --  --  --  --  --  --  - 61  39 

Arthur  Seymour  (Arthur  Haden) - 61  39 

Astruc-  - --  --  --  --  --  --  --  - 53  34 

Atelier  de  Bijouterie  - -- 430  239 

Auguste  Delatre  - --  --  --  --  --  --  26  17 

Au  Sixieme  - --  - _____  2 3 

Axenfeld-  - -- 64  41 

Babies,  Gray’s  Inn - - - - - 295  188 

Baby  Pettigrew  - --  --  --  --  --  --  336  200 

Balcony,  Amsterdam  - - - - 404  225 

Balcony,  The  - -- 204  142 


251 


INDEX 

TITLE  NUMBER.  PAGE 

Barber’s  Shop,  The  - ------  268  177 

Barr,  Robert  - --  --  - Ap.V  247 

Barrow,  The,  Brussels  - - - - 356  205 

Battersea  Bridge  (Old  Battersea  Bridge)  - - - - 174  no 

Battersea  Bridge,  Sketch  of  (Under  Old)  - - - - 173  no 

Battersea  Bridge,  Under  Old  - --  --  --  - 173  no 

Battersea  Bridge,  No.  3 - --  --  --  --  - 305  191 

Battersea:  Dawn  - --  --  --  - 132  95 

Battersea  Reach  - --  --  --  --  --  --  90  57 

Beach,  The  - --  --  --  --  --  --  --  100  63 

Beach,  The,  Ostend  - - - - 347  203 

Bead-Stringers  - --  --  - 193  132 

Bearskin,  The  - --  --  --  --  --  --  - 437  241 

Bebes,  Luxembourg  Gardens  420  235 

Becquet  - --  --  --  - - 52  33 

Beggars,  The  - --  --  --  --  --  --  - 1 9 1 126 

Bibi  Lalouette - 5 1 33 

Bibi  Valentin  - --  --  --  -- 50  32 

Billingsgate  - --  --  --  --  --  --  - 46  29 

Billingsgate,  View  from,  A - --  --  --  --  164  102 

Binding  the  Hair  - --  --  - 342  201 

Bird-Cages,  Chelsea 271  179 

Bird-Cages,  Drury  Lane 276  180 

Black-Lion  Wharf  - --  --  --  --  --  - 41  25 

Blanchisserie  - --  --  -- 433  240 

Boats  on  the  Maas  - --  --  --  --  --  - 241  167 

Bohemians,  Corsica ------  440  242 

Bonnet-Shop,  The  - - --  --  --  --  --  - 249  169 

Booth  at  a Fair  - --  -- - 245  168 

Boulevard  Poissonniere  - -- 418  234 

Boy,  The  - - - - - - - - - 133  81 

Bridge,  Amsterdam  - --  --  --  --  --  - 409  229 

Bridge,  The  ---------- 201  139 

Brussels  Children  -------  - - _ 362  208 

Bucking  Horse,  The -----  - 309  192 

252 


INDEX 


TITLE  NUMBER  PAGE 

Bunting - - - - 318  194 

Butcher’s  Shop,  Sandwich  ---------  - 303  190 

Butler  Street  (Butter  Street)  - --  --  --  - 363  208 

Butter  Street,  Brussels  - --  --  --  --  - 363  208 

Cafe  Corazza,  Palais  Royal  - --  --  --  --  432  240 

Cafe  Luxembourg  ------------  - 425  237 

Cadogan  Pier  (Early  Morning,  Battersea)  - - - - 75  50 

Cameo,  No.  i --------  333  199 

Cameo,  No.  2- ---------  334  199 

Canal,  Ostend  - --  --  --  --  --  --  - 350  203 

Carpet-Menders  - --  --  --  --  --  --  416  233 

Cellar-Door,  Tours  - --  --  --  --  --  - 377  214 

CHANCELLERIE,  LOCHES  - --  --  --  --  --  383  216 

Chapel  Doorway,  Montresor  --------  - 392  220 

Charing  Cross  Railway-Bridge  --------  306  191 

Chateau  (Chateau  Bridorez,  Touraine)  -----  378  214 

Chateau  Amboise  - --  --  --  --  --  --  393  220 

Chateau  Bridorez,  Touraine  - --  --  --  --  378  214 

Chateau,  Touraine  - --  --  --  --  --  - 379  215 

Chateau  Verneuil  - --  --  --  --  --  - 381  215 

Chelsea  Bridge  and  Church  - --  --  --  --  96  61 

Chelsea — Memorial  (Little  Chelsea)  ------  323  196 

Chelsea  Wharf  - - --  --  --  --  --  --  89  56 

Child  on  a Couch,  A (Girl  Sleeping)  ------  122  77 

Children,  Gray’s  Inn  - --  --  --  --  --  296  188 

Church,  The,  Amsterdam  - --  --  --  --  - 410  229 

Church,  Brussels  ------------  - 332  204 

Church  Doorway,  Edgemere  - --  --  --  --  298  189 

Clock-Tower,  Amboise - - - - 394  220 

Clothes-Exchange,  Houndsditch,  No.  i -----  282  182 

Clothes-Exchange,  Houndsditch,  No.  2 - - - - - 283  183 

Coast  Survey  Plate,  Sketches  on-------  i 3 

Cock  and  the  Pump,  The  - --  --  --  --  - 299  189 

Corner  of  the  Palais  Royal,  A-------  - 243  167 


253 


INDEX 


TITLE  NUMBER  PAGE 

Cottage  Door 246  168 

Court  of  Monastery  of  St.  Augustine,  Bourges  - - 397  221 

Courtyard,  A,  Brussels  - --  -- 353  205 

Courtyard,  Rue  P.  L.  Courier 369  210 

Custom-House  - - - - 148  92 

Cutler  Street,  Houndsditch 287  185 

Dam  Wood,  The 143  88 

Delatre,  Auguste 26  17 

Delannoy,  Sketching 25  17 

Desk,  The - - - 131  80 

Dieppe,  Sketch  at,  A 244  168 

Dipping  the  Flag  - --  - 319  195 

Dog  on  the  Kennel,  The 18  12 

Doorway  and  Vine 193  129 

Doorway,  Gray’s  Inn 294  188 

Doorway,  Sandwich - - - 302  190 

Doorway,  The - 185  1 19 

Doorway,  Touraine  - -- 380  215 

Dordrecht  - - 239  1 66 

Double  Doorway,  Sandwich 301  190 

Draped  Girl  Reclining 120  77 

Dray-Horse,  The 436  241 

Drouet  55  35 

Drury  Lane  ----- 234  163 

Dutchman  Holding  the  Glass  (Man  Holding  a Glass)  3 4 

Dyer,  The - - - - 216  153 

Eagle,  An 307  192 

Eagle  Wharf - 40  25 

Early  Morning,  Battersea 75  50 

Early  Portrait  of  Whistler 9 7 

Elinor  Leyland - 108  67 

Embroidered  Curtain,  The  (The  Lace  Curtain)  - - - 411  230 

Encamping  (The  Encampment) 82  53 

254 


INDEX 


TITLE  NUMBER  PAGE 

Encampment,  The  82  53 

Engraver,  The  (Riault) 65  43 

En  Plein  Soleil  ____  12  8 

Exeter  Street ------  275  180 

Fanny  Leyland  - --  --  --  --  --  --  107  66 

F.  R.  Leyi.and - - - - - 103  64 

F.  R.  Leyland’s  Mother  (Madame  Leyland)  - - - - 104  64 

Finette  - --  --  --  - 58  37 

Fishing  - --  --  --  --  --  --  --  - 84  54 

Fishing-Boat --------  - 205  144 

Fishing-Boats,  Hastings  - --  --  --  --  - 135  96 

Fishing-Quay,  Ostend  - --  --  --  --  --  348  203 

Fish-Market,  Ostend  - --  --  --  --  --  349  203 

Fish-Shop:  Busy  Chelsea  - --  -- 259  173 

Fish-Shop,  Venice  - - - - - - 215  152 

Fitzroy  Square -Ap.IV  247 

Fleet,  The,  Evening  - --  --  --  --  --  320  195 

Fleur-de-Lys  Passage  - --  --  --  --  --  286  184 

Florence  Leyland  - --  --  --  --  --  - 109  68 

Flower-Market,  Brussels  - - - - 358  207 

Forge,  The  - --  - 68  44 

Fosco  - --  --  --  --  --  --  --  --  98  62 

Fragment  of  Piccadilly,  A - --  --  --  --  252  170 

Free-Trade  Wharf - - - - 160  98 

From  Agnes  Sorel’s  Walk  - --  --  --  --  385  217 

From  Pickle-Herring  Stairs  --------  163  101 

Fruit-Shop  (Greengrocer’s  Shop)  -------  255  171 

Fruit-Shop,  Rue  de  Seine  - --  --  --  --  - 427  238 

Fruit-Stall  - --  --  --  -- 197  134 

Fulham  - --  --  -- - 179  1 14 

Fumette 13  IO 

Fumette’s  Bent  Head  - --  --  --  --  --  37  36 

Fumette,  Standing  - --  --  --  --  --  - 36  36 

Fur  Cloak,  The  - 328  198 


255 


INDEX 

TITLE  NUMBER  PAGE 

Furnace  Nocturne  (Nocturne:  Furnace)  - - - - 210  148 

Furniture-Shop - - - 262  175 

Garden  - --  --  --  --  --  --  --  - 207  146 

Gates,  City,  London  - --  --  --  --  --  - 279  181 

Gateway,  Chartreuse  (Gateway,  Chartreux)  - - - 395  221 

Gateway,  Chartreux  - - - - 395  221 

Gentleman  Reading  - --  --  --  --  --  - 136  83 

Gipsy  Baby  - --  --  --  --  --  --  --  337  200 

Girl  Leaning  - --  --  --  --  --  --  - 1 19  76 

Girl  Lying  Down  121  77 

Girl  Resting - 118  75 

Girl  Sleeping  - --  --  --  - 122  77 

Girl  Standing - 130  79 

Girl  with  Short  Hair  (Girl  Standing)  -----  130  79 

Glass-Furnace,  Murano - - - 214  151 

Gold-House,  Brussels  ___  359  207 

Gondola  Under  the  Bridge,  The  -------  224  158 

Grand’  Place,  Brussels ______  354  205 

Gray’s  Inn  Babies  (The  Young  Tree,  Gray’s  Inn)  - - 291  187 

Gray’s  Inn  Place  - 292  187 

Greedy  Baby,  The  (Gipsy  Baby)  - --  --  --  - 337  200 

Greengrocer’s  Shop  - --  --  --  --  --  - 255  171 

Greenhithe  - --  --  --  - 161  99 

Greenwich  Park  - --  --  --  --  --  --  34  ^21 

Greenwich  Pensioner  - --  --  --  --  --  33  21 

Gretchen  - --  --  --  --  --  --  --  20  13 

Gretchen  at  Heidelberg  (Gretchen) 20  13 

Guild-House,  A,  Brussels  (Flower-Market,  Brussels)  358  207 
Guitar-Player,  The  - --  --  --  --  --  - 138  84 

Hangman’s  House,  Tours - - - 376  213 

High  Street,  Brussels  - - - - 357  206 

Hole  in  the  Wall,  Ajaccio  - --  --  --  --  440  242 

Hotel  Allement  (Hotel  Lallement,  Bourges)  - - 398  222 

Hotel  Croix  Blanche,  Tours  - 373  212 


256 


INDEX 

TITLE  NUMBER  PAGE 

Hotel  Lallement,  Bourges  - - - - 398  222 

Hotel  Promenade,  Loches  - - --  --  --  --  387  218 

Hotel  de  Ville,  Loches  - --  --  --  --  - 384  217 

House  of  the  Swan,  Brussels  - --  --  --  - 360  207 

Hurlingham  - - --  --  --  --  --  --  - 178  1 13 

Irving  as  Philip  of  Spain,  No.  1 -------  167  105 

Irving  as  Philip  of  Spain,  No.  2 -------  168  106 

Islands - - - - - 219  155 

Isle  de  la  Cite,  Paris  - --  --  --  --  --  60  39 

Japanese  Dress,  The  ----- 335  199 

Jardins  de  Luxembourg  (Bebes,  LuxembourgGardens)  420  435 

Jews  Quarter,  Amsterdam  - - --  --  --  --  412  231 

Jo  -----------------  - 77  51 

Joe  (Jo)  ----------------  77  51 

Jo’s  Bent  Head  - --  --  -- - 78  52 

Jubilee  Place,  Chelsea  - - --  --  --  --  - 327  198 

Justice  Walk,  Chelsea - 270  178 

King’s  Road,  Chelsea  -----------  272  179 

Kitchen,  The --------  - 24  16 

Lace  Curtain,  The  - --  --  --  --  --  - 4 1 1 230 

Lady  at  a Window  - --  --  --  --  --  - 135  83 

Lady  in  an  Armchair-  - --  - - - 80  52 

Lady  in  Hat  with  Feather  (Lady  Standing)  - - - 129  79 

Lady  Standing -----  - 129  79 

Lagoon:  Noon  - -- ------  213  151 

Landing-Stage,  Cowes  - --  --  --  --  --  322  196 

Landscape  with  the  Horse  (The  Meadow)  - - - - 33  22 

Large  Pool,  The  - --  --  --  --  --  --  171  108 

Lenoir,  Miss-  - --  --  --  --  --  --  - 330  198 

Leyland,  F.  R.  - --  --  --  --  --  --  - 103  64 

Leyland,  Madame  -------------  104  64 

Lime-Burner,  The  - --  --  - 43  29 

257 


INDEX 

TITLE  NUMBER  PAGE 

Limehouse  - --  --  --  --  - 39  24 

Lindsay  Houses  (Lindsey  Houses) 162  100 

Lindsey  Houses  - --  --  --  --  --  --  162  100 

Little  Arthur  - --  --  --  --  --  --  - 7 5 

Little  Boy,  A (Seymour,  Seated) 6 5 

Little  Butter  Street,  Brussels 364  209 

Little  Chelsea  - --  --  - 323  196 

Little  Court  - --  --  --  --  --  --  - 232  162 

Little  Dordrecht  - - -- 240  166 

Little  Drawbridge,  Amsterdam  -------  405  226 

Little  Forge,  The  - --  --  -- 145  89 

Little  Hat,  The  - --  --  --  --  --  --  331  199 

Little  Lagoon,  The  - --  --  --  --  --  - 183  1 17 

Little  Market-Place,  Tours  - --  --  --  --  375  213 

Little  Mast,  The  - --  --  --  - 182  1 16 

Little  Maunder’s ----  - 274  180 

Little  Model,  Seated ----  - 344  202 

Little  Nocturne,  Amsterdam 413  232 

Little  Nude  Figure  - 339  201 

Little  Nursemaid,  The  - -- 297  189 

Little  Pool,  The---- 73  48 

Little  Putney,  The,  No.  1---------  - 176  1 12 

Little  Putney,  The,  No.  2 - - --  --  --  --  177  1 1 3 

Little  Salute  - --  --  --  --  --  --  - 217  154 

Little  Smithfield  - - --  --  --  --  --  - 157  97 

Little  Velvet  Dress,  The 106  66 

Little  Venice,  The  - --  --  --  --  --  - 180  1 1 5 

Little  Wapping  - --  --  -- 72  48 

Little  Wheelwright-  - --  --  --  --  --  242  167 

Liverdun  ----------- 16  11 

Lobster-Pots - - - - 233  162 

London  Bridge-  - --  --  - 150  93 

Long  House,  Amsterdam  - - - - 408  228 

Long  Lagoon  - --  --  --  --  --  --  - 200  138 

Longshoremen  - --  --  -- 44  28 

258 


INDEX 

TITLE  NUMBER  PAGE 

Long  Venice  - --  --  - 209  147 

Lord  Wolseley  - - - - - 166  104 

Luxembourg  Gardens  - --  --  --  --  --  419  235 

Madame  Leyland - - - - 104  64 

Mairie,  Loches  - --  --  --  --  --  --  382  215 

Man  Holding  a Glass - - - 3 4 

Mann,  Mr. 63  41 

Mantle,  The - 332  199 

Marbles  280  1 8 1 

Marchand  de  Meubles,  Rue  du  Four 431  239 

Marchand  de  Vin  429  238 

Marchande  de  Moutarde,  La 22  14 

Market-Place,  Bruges  351  204 

Market-Place,  Loches - - - 390  219 

Market-Place,  Tours 374  213 

Market,  The,  Calais  - 439  242 

Market-Women,  Loches  - - - - - 386  218 

Mast,  The  (The  Venetian  Mast)  -------  - 192  128 

Mast,  Venetian,  The -----  - 192  128 

Maude,  Seated  - -- 1 1 4 73 

Maude,  Standing  - 113  71 

Meadow,  The - 35  22 

Melon-Shop,  Houndsditch  288  186 

Menpes  Children,  The 257  172 

Mere  Gerard,  La - - - - - 13  9 

Mere  Gerard,  Stooping,  La 14  10 

Merton  Villa,  Chelsea ------  273  179 

Mill,  The  - - 415  232 

Millbank  --------- 71  47 

Miser,  The 69  46 

Miss  Alexander - 137  84 

Miss  Lenoir  - - - - - - - -------  330  198 

Model  Lying  Down,  The  (Draped  Girl  Reclining)  - 120  77 

Model  Resting  (Girl  Resting)  -------  n8  76 

259 


INDEX 


TITLE  NUMBER  PAGE 

Model  Stooping  - - - _____  340  201 

Model  with  Fan  -------------  343  202 

Monitors  ---------------  - 313  194 

Mother  and  Child  (Cameo,  No.  i)  -------  333  199 

Mr.  Mann-  - --  -- 63  4, 

Mrs.  Whibley  - -- ___  438  241 

Muff,  The  - - - - - - - - 112  70 

Murano,  Glass-Furnace  (Glass-Furnace,  Murano)  - 214  151 

Music-Room,  The  - --  - ___  3 1 20 

Nash’s  Fruit-Shop  - --  --  --  --  --  - 26o  173 

Newspaper-Stall,  Rue  de  Seine  -------  426  237 

Nocturne  - --  --  --  --  --  --  --  1 8 1 115 

Nocturne:  Dance-FIouse,  Amsterdam  ------  407  227 

Nocturne:  Furnace  - --  --  --  --  --  - 210  148 

Nocturne:  Palaces ------  - 199  136 

Nocturne:  Salute  - --  --  --  --  --  - 223  158 

Nocturne:  Shipping  - --  --  --  --  --  - 220  156 

Nora  Quinn  - --  --  --  --  --  --  --  329  198 

Notre  Dame,  Bourges  - --  --  --  --  --  401  223 

Nude  Figure  Reclining  - --  --  --  --  - 341  201 

Nude  Girl  Posing  - --  -- - 124  78 

Nude  Girl  Reclining  - --  --  --  --  --  123  77 

Nude  Girl  Standing 123  78 

Nude  Girl  with  Arms  Raised  --------  - 126  78 

Nude  Woman  Standing  - -- 346  202 

Nursemaid  and  Child  - --  --  --  --  --  36  22 

Nut-Shop,  St.  James’s  Place  - --  --  --  --  285  184 

Old  Battersea  Bridge 174  1 10 

Old-Clothes  Exchange  (Clothes-Exchange,  No.  i)  - 282  182 

Old-Clothes  Shop,  No.  1 - --  --  --  --  - 253  170 

Old-Clothes  Shop,  No.  2 - - - 254  17 1 

Old  Hungerford  Bridge  - --  --  --  --  - 76  50 

Old  Putney  Bridge  - --  - 175  11  1 


260 


INDEX 

TITLE  NUMBER  PAGE 

Old  Westminster  Bridge  - --  --  --  --  - 38  23 

Old  Women  - --  --  --  --  --  --  --  221  157 

On  the  Beach,  Ostend  - --  --  --  --  --  347  203 

On  the  Embankment  ------- 256  172 

Open  Book,  The  - --  --  --  --  --  --  79  52 

Opposite  Lindsay  Row  (Steamboat-Fleet) 153  96 

Orator,  The ---------  - 3 10  192 

Palaces,  Brussels  - --  --  --  --  --  - 333  205 

Palaces,  The  - --  -- 184  1 1 8 

Paris:  The  Isle  de  la  Cite  (Isle  de  la  Cite,  Paris)  - 60  39 

Passages  de  l’  Opera  - --  --  --  --  --  367  210 

Penny  Boat,  The  - --  --  --  --  --  --  67  44 

Petticoat  Lane  - --  --  --  --  --  --  281  182 

Piano,  The  - --  --  --  --  --  --  --  139  85 

PlAZZETTA,  THE  - --  --  --  --  --  --  186  120 

Piccadilly,  Fragment  of,  A - --  --  --  --  252  170 

Pickle-Herring  Stairs,  From  - --  --  --  - 163  101 

Picture-Shop,  Rue  de  Seine 428  238 

Pierrot  - --  --  --  --  --  --  --  - 406  226 

Place  Daumont  - --  --  --  - 368  210 

PoLICHINELLE,  LUXEMBOURG  GARDENS  ------  424  236 

Ponte  del  Piovan  ------------  - 206  145 

Pool,  The  - --  --  --  --  --  --  --  42  26 

Portrait  of  a Lady  - --  --  --  --  --  - Ap.  II  246 

Portrait  Sketches  - --  --  --  --  --  - 102  63 

Portsmouth  Children  - --  --  --  --  --  311  193 

Price’s  Candle-Factory  - --  --  --  --  - 1 5 1 94 

Price’s  Candle-Works  (Price’s  Candle-Factory)  - 151  94 

Punt,  The ----------  86  54 

Putney,  Bridge  (Old  Putney  Bridge)  ------  175  111 

Putney,  No.  3 (Little  Putney,  No.  2)  ------  177  1 1 3 

Quai  de  Montebello  ------ 366  209 

Quartier  Mouffetard ----  - 23  15 

261 


INDEX 

TITLE  NUMBER  PAGE 

Quay,  Ostend  (Fishing-Quay,  Ostend)  ------  348  203 

Quiet  Canal  - - --  --  --  --  --  --  - 21 1 149 

Rag-Gatherers’,  The  (Quartier  Mouffetard)  - - - 23  15 

Rag-Shop,  Milman’s  Row  - --  -- 267  177 

Rag-Shop,  St.  Martin’s  Lane 277  180 

Railway-Arch,  The  - -- 264  175 

Railway-Station,  Voves  371  21 1 

Ramparts,  Sandwich _______  304  191 

Ratcliffe  Highway  81  53 

Reading  a Book  - -- ____  1IO  70 

Reading  by  Lamplight  - --  --  --  --  --  30  19 

Reading  in  Bed  (The  Slipper) 28  18 

Regent’s  Quadrant _____  235  163 

Renaissance  Window,  Loches - - - 391  219 

Resting  (Girl  Leaning) 119  76 

Resting  by  the  Stove _____  338  200 

Retameuse,  La----- 11  8 

Return  to  Tilbury 321  195 

Rialto,  The 208  147 

Riault 65  42 

Riva,  The,  No.  i - 189  124 

Riva,  The,  No.  2 203  141 

River  Sketch,  A - 85  54 

Robert  Barr Ap.  V 247 

Rochester  Row  - --  --  -- 265  176 

Ross  WlNANS -____  - 88  56 

Rotherhithe  66  43 

Rue  des  Bons  Enfants,  Tours 372  212 

Rue  de  la  Rochefoucault - - - - - 365  209 

Rue  Vauvilliers --------  434  240 

Ryde  Pier  (Landing-Stage,  Cowes)  -------  322  196 

Sail,  The  - - --  - 154  96 

Salute,  La,  Dawn -----  - 212  150 

262 


INDEX 

TITLE  NUMBER  I’ AGE 

Salvation  Army,  Sandwich  - 300  189 

Sandwich:  Salvation  Army ___  300  189 

San  Biagio ----------  194  1 3 1 

San  Giorgio  - --  --  --  --  --  --  --  198  136 

Savoy  Scaffolding ------  - 263  175 

Scotch  Widow,  The  - --  --  --  --  --  - 140  86 

Seamstress,  The 248  169 

Seated  Girl  - - - - - - 117  75 

Seats,  Gray’s  Inn  - -- 293  187 

Seymour  ----------------  32  20 

Seymour,  Seated  - --  --  --  --  --  --  6 5 

Seymour,  Standing  - --  --  --  --  --  - 3 4 

Shaving-and-Shampooing  Shop,  The  - ------  269  178 

Ship-Builder’s  Yard  144  88 

Shipping  at  Liverpool  - --  --  --  --  --  94  39 

Shipping,  Venice  - --  --  -- 2 26  159 

Silk  Dress,  The  - --  -- 1 1 5 74 

Sketch  at  Dieppe,  A------ - 244  168 

Sketch  from  Billingsgate  (A  View  from)  - - - - 164  102 

Sketch  in  St.  James’s  Park  (St.  James’s  Park)  - - - 251  170 

Sketch  of  a Girl,  Nude  (Nude  Girl  Reclining)  - - 123  77 

Sketch  of  Battersea  Bridge  --------  173  no 

Sketch  of  Houses  - - --  -- 138  97 

Sketch  of  Shipping  - --  --  --  --  --  - 48  31 

Sketch  of  Ships  (Sketch  of  Shipping)  - --  --  - 48  31 

Sketch  on  the  Embankment  (On  the  Embankment)  - 256  172 

Sketches  of  Girl  and  Woman - 128  79 

Sketches  of  Heads  - --  --  --  --  --  - 1 o 1 63 

Sketches  of  Twelve  Heads  (Sketches  of  Heads)  - - 101  63 

Sketches  of  Two  Heads  - 127  79 

Sketches  on  Coast  Survey  Plate  1 3 

Sketching  (The  Thames)  - --  --  --  --  - 87  56 

Slipper,  The __________  28  18 

Smithy,  The  - --  --  --  --  --  --  --  237  164 

Soupe  a Trois  Sous  49  32 


263 


INDEX 

TITLE  NUMBER  PAGE 

Southampton  Docks  317  194 

Speke  Hall,  No.  i- 95  59 

Speke  Hall,  No.  2 - - 141  86 

Speke  Shore ----------  142  87 

Square  House,  Amsterdam - 403  224 

St.  James’s  Park ________  251  170 

St.  James’s  Place,  Houndsditch 284  184 

St.  James’s  Street 165  103 

Stables  ___  222  157 

Steamboat-Fleet  - --  --  - 133  93 

Steamboat,  The,  Venice  - --  --  --  --  - 225  159 

Steamships  off  the  Tower  ---------  - 147  91 

Steps,  Amsterdam - - - 402  223 

Steps,  Gray’s  Inn _______  290  186 

Steps,  The,  Chelsea  - --  --  --  --  --  - 258  172 

Storm,  The  - --  --  --  - 83  53 

Street  at  Saverne  - --  --  --  --  --  - 19  12 

Street,  Brussels  (Little  Butter  Street,  Brussels)  - 364  209 

Street  Scene  - --  --  --  --  --  --  - 435  241 

Sunflowers,  Rue  des  Beaux-Arts  -------  417  234 

Swan  and  Iris 238  165 

Swan  Brewery  (“The  Swan,’’  Chelsea)  -----  97  62 

“Swan,  The,”  Chelsea 97  62 

Swinburne ---------  134  82 

“T.  A.  Nash”  (Nash’s  Fruit-Shop)  -------  260  173 

Tatting  in  70 

Temple  - - 231  162 

Temple  Bar - - - - 159  97 

Terrace,  Luxembourg  Cardens,  No.  i -----  - 421  235 

Terrace,  Luxembourg  Gardens,  No.  2 - -----  422  236 

Terrace,  Luxembourg  Gardens,  No.  3 - -----  423  236 

Thames  Police  (Wapping  Wharf) 43  27 

Thames  Sketch,  A - - 47  31 

Thames,  The 87  55 


264 


INDEX 

TITLE  NUMBER  PACE 

Thames  Towards  Erith  (Greenhithe) 1 6 1 ioo 

Thames  Warehouses  - - - 37  23 

Theatre,  Loches - - - 388  218 

Tilbury  - --  --  -- ____  312  193 

Tillie  - --  --  --  --  --  --  --  - 1 16  74 

Tiny  Pool,  The  - --  --  --  --  --  --  170  107 

Title  to  the  French  Set  (Delannoy,  Sketching)  - - 25  17 

Toilet,  The  - --  --  --  - - 93  58 

Tour  St.  Antoine,  Loches  - --  --  --  --  - 389  219 

Towing-Path,  The  - - --  --  --  --  --  - 250  169 

Traghetto,  The,  No.  i----------  - 187  121 

Traghetto,  The,  No.  2----------  - 188  122 

Troop-Ships  - -- ____  314  193 

Troubled  Thames,  The  - - - - 149  92 

Two  Doorways,  The - - - - - 190  125 

Two  Heads,  Sketches  of--------  - - 127  79 

Two  Ships,  The - - - - - 146  90 

Two  Sketches  (Sketches  of  Girl  and  Woman)  - - - 128  79 

Turkeys  196  134 

Turrett-Ship,  The 316  194 

Tyzac,  Whiteley  & Co.  (Eagle  Wharf)  -----  40  25 

Under  the  Cathedral,  Blois 396  221 

Under  Old  Battersea  Bridge  --------  173  1 10 

Unsafe  Tenement,  The  - - --  --  --  --  - 17  n 

Upright  Venice  - - 202  140 

Vauxhall  Bridge  - - - - - - - - 70  46 

Velvet  Dress,  The  - - - - 105  65 

Velvet  Dress,  The  Little  - --  --  --  --  106  66 

Venetian  Court  - --  --  --  --  --  --  227  160 

Venetian  Mast,  The -------  192  128 

Venetian  Water-Carrier  - --  --  --  --  - 229  161 

Venice- 228  160 

Venus,  A ------  59  39 

265 


INDEX 

TITLE  NUMBER  PAGE 

VlEILLE  AUX  LOQUES,  La  21  14 

View  from  Billingsgate,  A - --  --  --  --  164  102 

Village  Sweet-Shop,  The  - --  --  --  --  - 247  169 

Visitors’  Boat  - - 313  193 

Wapping  Wharf  - --  --  - - 43  27 

Weary --------  92  58 

Westminster  Bridge  (Old  Westminster  Bridge)  - - 38  23 

Westminster  Bridge  in  Progress  - --  --  --  74  50 

Wharf,  A (A  Thames  Sketch)  - - --  --  --  - 47  31 

Wheelwright  - --  --  --  -- 230  161 

Whibley,  Mrs. 438  241 

Whistler  - 54  35 

Whistler,  Early  Portrait  of  - - --  --  --  - 9 7 

Whistler  with  the  White  Lock 169  106 

Whistler’s  Mother  ----  - 99  62 

White  Tower,  The  (Custom-House)  ------  148  92 

Wild  West  - --  - 308  192 

Wimpole  Street  - -- 278  181 

Windows,  Bourges  399  222 

Windows  Opposite  Hotel,  Bourges 400  223 

Windsor — Memorial  (Windsor,  No.  i) 324  196 

Windsor,  No.  1 - - - 324  196 

Windsor,  No.  2-------------  - 325  197 

Wine-Glass,  The  27  18 

Wine-Shop,  The  - --  --  --  --  --  --  370  21 1 

Wolseley,  Lord  - -- 166  104 

Woman  Seated  (Miss  Lenoir) 330  198 

Woman  with  Flowing  Hair  (Jo’s  Bent  Head)  - - 78  52 

Wood,  The  - --  --  --  --  --  --  --  Ap.  Ill  247 

Woods’s  Fruit-Shop  - ------  261  174 

Wool-Carders  - --  - 218  155 

Wych  Street ----  - 136  97 

York  Street,  Westminster 266  177 

266 


INDEX 


TITLE  number  page 

Young  Tree,  The,  Gray’s  Inn  - 291  187 

Young  Woman  Standing - - - 345  202 

Youth  with  German  Cap  - --  --  --  --  - 4 4 

Zaandam - - - - 4!4  232 


267 


. 


♦ 


V 


